LAWRENCE BROWNLEE: REVIEW EXCERPTS
2009
METROPOLITAN OPERA
as DON RAMIRO in Rossini's La Cenerentola
Another reason I was eager to attend this season’s Cenerentola
was finally to hear Lawrence Brownlee, the young American contender in
the Rossini tenor stakes and, by the sound of audience response, already
a singer the Met has taken to its heart. Brownlee has, on the evidence,
a larger, more liquid sound that Juan Diego Florez’s more nasal
tone or Barry Banks’s more brilliant but less sensuous instrument,
and he appears to be the equal of both in rapid-fire coloratura. Don Ramiro,
the prince, is, alas, not much of a role — besides a couple of duets
(with Angelina and Dandini) and parts in the concertati, he only has one
bravura scene — I have always been surprised when a leading tenor
like Florez or Vargas condescends to take it on. Brownlee seemed comfortable
on stage in all the silliness required of Don Ramiro in this production,
..... I look forward to hearing him again this summer in the semi-staged
operas being performed at Caramoor.
- John Yohalem, Opera Today (June 2009)
Friday night's premiere was a joyful occasion thanks to an outstanding
cast, starting with the two lead singers — Latvian mezzo-soprano Elina
Garanca and American tenor Lawrence Brownlee.”
Brownlee, who debuted in Barbiere two years ago, is that rare
phenomenon, a light lyric tenor who can loft effortlessly to a high D
with no sense of strain or diminution of quality. His technique is a match
for Garanca’s, and he deservedly won a huge ovation for Prince Ramiro's
big aria, ‘Si, ritrovarla io giuro.’ Brownlee is one of the few African-American
singers currently performing leading roles at the Met, and it's good the
company is bringing him back again next season, when he'll appear in Rossini's
Armida alongside Renée Fleming.
- Mike Silverman, The Associated Press, May 2, 2009
Cesare Lievi’s 1997 production handily retains its charm and distinctive
humor, and there are terrific performances from singers making their Met
role debuts as Angelina (a.k.a. Cinderella) and her prince charming, Don
Ramiro.
American tenor Lawrence Brownlee, the Don Ramiro, is fast consolidating
his reputation as the Rossini tenor of choice in the absence of Juan Diego
Flórez. Don Ramiro makes his initial entrance disguised as his valet Dandini,
but from the start there was no mistaking the patrician quality of Brownlee’s
singing. His honeyed tone and exemplary diction contributed handsomely
to ‘Un soave non so che,’ the alluring duet he soon sings with Angelina.
And Brownlee’s technical brilliance made Don Ramiro’s big Act 2 aria into
a real showstopper.
-George Loomis, MusicalAmerica.com, May 4, 2009
Gioachino Rossini's romantic fairy tale comedy La Cenerentola...was
revived on May Day in a winning rendition featuring some newcomers and
some recreating their roles. Elina Garanca and Lawrence Brownlee were
the striking new principals.” “Tenor Brownlee, as Don Ramiro, Prince of
Salerno…immediately reconfirmed, in his bright and fluid entrance recitative,
‘Tutto è deserto,’ the fine impression he made at his debut, in Rossini's
Il Barbiere di Siviglia, two seasons ago. The Latvian mezzo and
American tenor were soon, in their duet, ‘Un soave non so che,’ trading
lustrous phrases and fluent florid musical figures.” “In his ‘Sì, ritrovarla
io giuro’ sequence of cabaletta, cavatina, and second cabaletta, Brownlee,
with flair, displayed ringing high notes, smooth legato, and pyrotechnical
proficiency.
-Bruce-Michael Gelbert, newyorkqnews.com/qmetropolis.com (May
2, 2009)
“Mr. Crutchfield, a gifted young cast headed by the vibrant soprano
Georgia Jarman and the impressive tenor Lawrence Brownlee, the Orchestra
of St. Luke’s and the Caramoor Festival Chorus rose to the challenge
in a performance so well prepared it came across as natural and spontaneous.”
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