John Brancy





John Brancy


American Citizen

Baritone John Brancy is on the verge of an exciting and diverse performing career, and has been hailed by the New York Times as “a vibrant, resonant presence”. He is the 2015 Jensen Foundation Vocal Competition Winner and the 2013 Winner of the Marilyn Horne Song Competition.

John Brancy begins the 2017 season with important debuts at Florida Grand Opera as the title role in Eugene Onegin, Clarion Music Society as Papageno in Die Zauberflöte, Opera Omaha as the Steward in Dove’s Flight, Opera National de Lorraine as Harlekin in Ariadne auf Naxos and Stadttheater Klagenfurt as Albert in Werther. Mr. Brancy has received the media prize in the 2017 Belvedere Competition and has been selected as a finalist in the Wigmore Hall Competition. In the 2018 season he reprises the role of Malatesta with the Landestheater Vorarlberg in Bregenz, and appears as the baritone soloist in the Brahms Requiem with Saint Thomas Church in New York.

John Brancy began the 2015-2016 season with a significant debut with the Glyndebourne Festival Opera Tour, as Malatesta in Don Pasquale. He also debuted with Opera Theatre of Saint Louis as Harlekin in Ariadne auf Naxos, as well as Pacific Opera Victoria, as Demetrius in A Midsummer Night’s Dream. He returned to Carnegie Hall in recital as part of their “Evening of Song Series,” as well as Oper Frankfurt, as Morales/Dancairo in Carmen. His concert engagements included the Boston Symphony Chamber Players, Edmonton Symphony, St. John’s College Concert Series, Chamber Music Society of Palm Beach, and Opera America’s 2016 Emerging Artist Recital Series in conjunction with the Jensen Foundation.

In 2014-2015, Mr. Brancy’s debuts included: The Opera San Antonio as the title role in Tobias Picker’s The Fantastic Mr. Fox along with a gala appearance at the opening of San Antonio’s new Tobin Center; Edmonton Opera as Papageno in Die Zauberflöte; Opera Lyra Ottawa as Figaro in Le nozze di Figaro; and Opera Saratoga as Dandini in La Cenerentola. His concert engagements included his debut with Musica Sacra in Handel’s Messiah at Carnegie Hall, where he also performed a recital with pianist Ken Noda later in the season for “The Song Continues”. He also appeared with New York Festival of Song (NYFOS) performing at Merkin Hall with pianist Steven Blier. He made his recital debut at the Kennedy Center with Vocal Arts DC, and reprised the same program with CAIC (Collaborative Arts Institute of Chicago), and Société d’art vocal de Montréal in collaboration with pianist Peter Dugan.

During the 2013-2014 season, Mr. Brancy made important debuts at Oper Frankfurt as Sonora in La fanciulla del West, Gotham Chamber Opera in Charpentier’s La descente d’Orphée aux Enfers, and Pacific Opera Victoria as Harlekin in Ariadne auf Naxos. Mr. Brancy’s concert and recital engagements for the year included performances with the Saskatoon and Regina Symphonies, San Francisco Symphony, Boston Symphony Orchestra, Brooklyn Art Song Society, and Carnegie Hall.

During the 2012-2013 season, Mr. Brancy made his debut with the Dresden Semperoper, singing the role of Fiorello in Rossini’s Il Barbiere di Siviglia, performed in a new production of John Adams’ I Was Looking at the Ceiling, and Then I Saw the Sky with Paris’ Theatre du Chatelet, and finished his graduate degree at The Juilliard School as Harasta in The Cunning Little Vixen. Mr. Brancy closed the season performing the role of Papageno in Die Zauberflöte at the prestigious Music Academy of the West in Santa Barbara where he was described by Opera News as having “impeccable timing, dynamic physicality and robust voice.”

August 2017


Bizet Morales/Danairo CARMEN
Britten Sid
Donizetti Malatesta DON PASQUALE
Mozart Papageno
Picker Fantastic Mr. Fox THE FANTASTIC MR. FOX
Rossini Fiorello
Strauss Harlekin ARIADNE AUF NAXOS
Tchaikovsky Onegin EUGENE ONEGIN






“Not surprisingly the title character has the toughest role in this opera. Certainly not because of the vocal demands, unusually this time, quite the opposite. The snippets he gets must make us maintain focus on him until he releases an enormous suppressed sound (using Tatyana’s music) as he tries to find a purpose. John Brancy has the essential combination of talents to keep an audience gripped.” [Eugene Onegin, Florida Grand Opera]
Jeff Haller,

“With this all-new staging of Fantastic Mr. Fox, Opera San Antonio has signalled its intention to brook no compromises. There were none to speak of in the youthful cast, led by the bright, stirring baritone and dashingly athletic presence of John Brancy in the title role.”
Mike Greenberg, Opera News

“The standout of the performance of the night, however, was by John Brancy, a 24 year-old baritone who recently completed a graduate diploma at Juilliard and has already made his professional debut with Dresden Semperoper. Brancy’s impeccable timing, dynamic physicality, and robust voice made him an ideal Papageno.”
Edmond Johnson, Opera News

“…the baritone John Brancy, was a vibrant, resonant presence…”
The New York Times

“As Harasta, John Brancy brought to bear a strong baritone and a bad-boy swagger, projecting his sound effortlessly even in a quiet, reflective section.”
Opera News

“But the greatest moments came when Brancy joined the musicians. He is a baritone of refined taste, and his readings of favorites such as Franz Schubert’s Erlkönig D. 328 would fare well even when compared to those by legendary 20th century lieder interpreters. He had everything: clear diction, dramatic flair and a beautifully burnished tone… One surely hopes that The Chamber Music Society of Palm Beach will bring artists of Brancy’s stature for more Liederabend.”
Marcio Bezerra, Palm Beach Daily News

“The American baritone John Brancy has an impressive CV, with many prestigious competition prizes and his confidence and winning stage presence were ideal for Malatesta, as was his forthright, easily produced baritone…. Brancy received deservedly enthusiastic applause for their patter duet.” [Don Pasquale, Glyndebourne Tour, Lewes]
Melanie Eskenazi, MusicOMH

“John Brancy’s Dandini was suave, funny and cool, his high-lying baritone also able to negotiate Rossini’s fiorature.” [Cenerentola, Opera Saratoga]
Robert Levine, Bachtrack

“Vocally, the evening belonged to the three baritone leads: … Brancy has a creamy, attractively coloured voice and a relaxed, loose-limbed attitude.” [Le nozze di Figaro, Opera Lyra]
Natasha Gauthier, Ottawa Citizen

“John Brancy’s Figaro is a delight with his velvety baritone, and magnetic charm though he also stands out for his impressive ease on stage.” [Le nozze di Figaro, Opera Lyra]
Chrissy Steinbock, Apt613

“None of this would have worked, of course, had Brancy and Dugan not been able to perform it so consummately well. Brancy has a warm, vivid baritone with a lot of color…But the goal of a recital is not originality as much as making a statement as an artist. And at this, Brancy and Dugan succeeded superbly.” [Vocal Arts DC recital]
Anne Midgette, Washington Post

“Baritone John Brancy and pianist Peter Dugan performed a glorious tribute to World War One’s centennial, that was as stirring as it was illuminating in their recital debut at Kennedy Center last night…The audience was anything but silent after this perfect ending to a near-perfect evening by the sonorous, rich baritone and the splendid pianist — two very engaging 2013 Juilliard graduates.” [Vocal Arts DC recital]
Marsha Dubrow, Examiner

“John Brancy… he was steady and exultant in “The trumpet shall sound.”
Zachary Woolfe, The New York Times

“This cast was strong from foxhole to farmyard, the roster sensibly stacked with singers who had performed this season in the San Antonio production. Among them was John Brancy, in nimble and vivid voice as Mr. Fox…”
Jeremy Eichler, The Boston Globe

“Baritone John Brancy demonstrated a natural affinity for lieder style, fine German diction and a suave, understated manner that could also heat up on occasion. Two Korngold selections proved his interpretive range. His witty implications, delivered with refined timbre, enlivened Zemlinsky’s “Das bucklicht Männlein” Brancy’s lyrical warmth and subtle line were particularly effective in the same composer’s “Und hat der Tag all’ seine Qual.”
David J. Baker, Opera News

“Brancy has an easy virility to his singing that gave even the most sentimental lines an unselfconscious naturalism, while Brugger’s velvety voice possesses a mezzo color that carries the intimacy these songs needed, speaking directly to the listener.” … “Brancy sang the composer’s (Wolf) impressionist Nachtzauber, and was mesmerizing.” 
David J. Baker, Opera News