Grendier -The Devil of Loudun

The State Theatre of Hanover is fortunate to have for the role Grandier Brian Davis, a singer performer who is not only in full command of the varying vocal demands of the role, but also with the description of the historical figure is true: tall, slim, winning and also under heightened torture remains steadfast.

Frieder Reininghaus,

Brian Davis fills out the role of Grandier with a baritone voice that is astoundingly like honey.  Even at the end his voice sounded untaxed and he breezed impressively through the highs and lows of his part.  He is also, (and not only then) dramatically very impressive in the finale.


Siskov - From the House of the Dead

Baritone Brian Davis (Siskov) may have a cold, but his mad scene in the third act, is nevertheless remarkable both vocally and dramatically quality . The text and voice are clear, as is the depth and variability of his expression.

Jürgen Otten, Frankfurter Rundschau

König Pentheus - Die Bassariden

Brian Davis fascinates as a complex, powerful Pentheus with enormous vocal variations: lordly outbursts, deepest desperation - and with highest vocal presence and controlled, emotional expressive strength.

Brian Davis gives quite a fierce steadfastness to Pentheus with his expressive baritone.

Gerhard Rohde, Frankfurteer Allgemeine Zeitung

Brian Davis as Pentheus convinces not only through his physicality, but also with his vocalism and powerful characterization.

Rainer Wagner, Hannoversche Allgemeine Zeitung

Rodrigo - Don Carlo

The Marquis of Posa not only carries the torch of enlightenment, he also ignites it. Brian Davis is extremely eloquent and charismatic on stage: This one pound can proliferate.

Rainer Wagner, Neue Presse

Iago - Otello

Equal - and also interesting as an actor because he clearly plays evil ice cold and as an offended intellectual: Brian Davis as Iago.

Richard Peter,

Don Giovanni

The Don (Brian Davis) is a tremendous baddie, handsome as the devil and with a powerful, burnished voice to match. Davis took things all the way, defiant up to the very bitter end. He even took his bows in character, with arrogant gestures and a superior smile. He was thrilling. That fine, nasty Don! It hurt to see him go.

Buffalo News, Mary Kunz 

Scarpia - Tosca

Syracuse Opera fielded a strong trio for its October 19 Tosca. This Tosca delivered the vocal and dramatic goods almost to overflowing. There were moments in Act II when Brian Davis’ frightening, authoritative Scarpia seemed to be overdoing, such were the physical moves he made against the hapless (Tosca)...well before she reluctantly gave her consent to be ravished in return for Cavaradossi’s life. It made for exciting theater, and even more important, both Singer and Davis maintained vocal momentum. The finale to Act I was especially impressive...

Opera News, William D. West

As Baron Scarpia, Brian Davis pulled out all the stops. There were no ambiguities about his view of the police chief. He also poured out a generous baritone that filled the theater.

Syracuse Herald-Journal, Larry McGinn

Count Almaviva - Le Nozze di Figaro

The most impressive vocalism comes from Brian Davis, whose bright, resonant baritone turns the unlikable Count into the focal center of every scene in which he appears.

Robert Croan, Pittsburgh Post-Gazette

Brian Davis, who cuts a handsome figure as Count Almaviva, has a dramatic voice which served perfectly for the pompous character. The youthful baritone was a convincing nobleman. The voice is big and round and moves upon command, as in the count’s Act III outburst when he vows that he will not be vanquished by his own servants... Davis handled the heavy declamation with ease, creating intensity with exciting runs. 

Peter Haley, Albany Times-Union

Escamillo - Carmen

Brian Davis sang Escamillo firmly and with evident enjoyment.

Anne Midgette, New York Times

..when he [Brian Davis as Escamillo] descends the lattice staircase like Elvis, and sings the Toreador song with the necessary bravura. Pure seduction.

Neue Presse