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b o u t

Praised for his “lovely tone and deep expressivity” by The New York Times, GRAMMY® nominated American tenor Brian Giebler is consistently gaining attention for his vocal “shine and clarity” (Opera News). Whether performing Handel’s Semele with Harry Bicket and The English Concert or Stravinsky’s Threni with Franz Welser-Möst and The Cleveland Orchestra, “Brian Giebler use[s] his high-placed tenor with great skill” (Opera Magazine).  

Brian Giebler’s début solo album, a lad’s love on Bridge Records (July 2020), earned him his first GRAMMY® nomination for Best Classical Solo Vocal Album after charting on Billboard’s Traditional Classical chart. It has earned high praise from Gramophone, Opera News (Critic’s Choice), as well as being lauded for“the beauty, sweetness, and youthful sheen of Brian Giebler’s extremely fine tenor [which] is ideally suited for this collection of English songs” (San Francisco Classical Voice). 

Due to the uncertainty of the global COVID-19 pandemic, solo appearances with the Johnstown Symphony (Handel's Messiah), Berkshire Choral Festival (Mozart’s Requiem), Bach Virtuosi Festival, TENET (Apollo in Monterverdi’s Orfeo, Messiah, and solos in Les Plaisirs de Versailles), Washington Bach Consort (Bach’s Lutheran Mass and Handel’s Nisi Dominus), Apollo’s Fire, Clarion Music Society, Santa Fe Pro Musica (Uriel in Haydn’s Creation) and Manhattan Concert Productions (Carnegie Hall) were all cancelled. 

During the 2019/20 season, Brian Giebler took the stage as Adam in Julian Wachner and Cerise Jacob’s REV 23 (directer James Darrah; conductor Daniela Candillari) at the prestigious Prototype Festival in NYC, graced the stage of Carnegie Hall singing Handel’s Messiah with the Oratorio Society of New York (a piece he frequents, including performances with the Naples Philharmonic), and filled Washington’s National Cathedral singing Haydn’s Harmoniemesse with the Cathedral Choral Society and Washington Bach Consort Orchestra. In notable return engagements, Brian sang Monteverdi love duets on Valentine’s Day with GRAMMY®-winning orchestra Apollo’s Fire. 

In previous seasons, Brian Giebler sang Apollo in Handel's Semele with The English Concert and The Clarion Choir in an international tour under esteemed conductor Harry Bicket, including performances at the Theatre des Champs-Elysées (Paris), the Barbican (London), and the Perelman Stage of New York’s Carnegie Hall. He joined the Grand Rapids Symphony, Musica Sacra (Handel’s Messiah at Carnegie Hall), Baltimore Choral Arts, and the Mark Morris Dance Group at Lincoln Center's Mostly Mozart Festival for his solo débuts. On stage, Brian Giebler took on the comedic role of Arnalta in Monteverdi's L'incoronazione di Poppea with Boston Baroque, joining a star-studded cast including Anthony Roth Costanzo and Amanda Forsythe. He sang and recorded the role of Iff the Water Genie in Wuorinen's Haroun and the Sea of Stories with Boston Modern Orchestra Project, which is projected to release in 2020. He made his début with Boston Early Music Festival in Bremen, Germany, singing Chœur des Plaisirs in Charpentier’s Les Plaisirs, and Bacchus and Chœur des Fontaines in de Lalande’s Les Fontaines in concert and recording (the former earning a 2020 GRAMMY® Nomination for Best Opera Recording).  

Brian Giebler’s other notable appearances have included the Cleveland Orchestra under Franz Welser-Möst (singing Stravinsky's Threni), multiple performances of Handel's Messiah (including the Virginia Symphony Orchestra and Musica Sacra at Carnegie Hall), Bach St. Matthew Passion Evangelist with Music at Trinity Wall Street and True Concord Artists, Mozart Requiem at Carnegie Hall (Manhattan Concert Productions), Bach Cantatas with Handel & Haydn Society (Jordan Hall), and the American Classical Orchestra (Mozart Große Messe in c-Moll at Lincoln Center). He made his stage début with Charlottesville Opera as Jack in Sondheim’s Into the Woods, where he was lauded for “his spotless tenor vocals [that were] a highlight of the production” (BroadwayWorld), and created the title role in Anathema: The Turing Opera at National Sawdust, by William Antoniou.  

Brian Giebler’s earlier successes included a 2nd place win (Stanley C. Meyerson Award) in the Lyndon Woodside Oratorio-Solo Competition at Carnegie Hall, the Richard Chambless People's Choice Award at the 2018 American Traditions Competition, and 3rd place (Honorable Mention) in the 2016 Biennial Bach Vocal Competition sponsored by the American Bach Society. Brian Giebler is a graduate of the University of Michigan, where he earned his Master’s degree in Vocal Performance. He is also an alumnus of the Royal Academy of Music in London, England, holds a Bachelor’s degree in Vocal Performance from the Eastman School of Music, and was a Young Artist with the Aspen Opera Theater Center, Oregon Bach Festival, and Carmel Bach Festival.



r e s s

For Critical Acclaim for a lad's love, click here: 

CD Review: Wuorinen: Haroun and the Sea of Stories

Boston Modern Orchestra Project, Boston, MA; Gil Rose; November, 2020


"Brian Giebler brings clarity and tonal charm to the genie Iff, another part requiring many upper-register flights." – David Shengold, Opera Magazine

Monteverdi: L'incoronazione di Poppea

Boston Baroque, Boston, MA; Martin Pearlman; April, 2019


"Brian Giebler (Arnalta) used his high-placed tenor with great skill, illuminating the camp episodes but offering a ravishing ‘Adagiati, Poppea’." – David Shengold, Opera Magazine

Handel: Semele

The English Concert and Clarion Choir, International Tour; Harry Bicket and Steven Fox; April, 2019


“The brief, deus-ex-machina part of Apollo was voiced with shine and clarity by Brian Giebler.” – David Shengold, Opera News


“Brian Giebler brought impressive legato and attractive timbre to Apollo who brings the good news that a phoenix, actually baby Bacchus, will rise out of Semele’s ashes. A number of F-sharps were especially refulgent and Giebler has excellent breath control and an appealing light vocal color, not unlike that of Benjamin Hulett.” - Jonathan Sutherland, Opera Wire

Muehleisen: Pietá

Sounding Light, Cleveland, OH; Tom Trenney; March, 2019


"Brian Giebler’s high lyric tenor was true in sound and intonation, and captured the emotions of the text. Perhaps his most effective moments were in the unaccompanied Civil War song, “Just Before the Battle, Mother.” It was heartbreakingly simple.” – Timothy Robson, Cleveland Classical 



Handel: Messiah

Musica Sacra, Carnegie Hall; Kent Tritle; December 19, 2018


"Handel’s operatic genius comes through most powerfully in his arias for lower voices. The baritone John Brancy, singing with Musica Sacra, summoned real fire-and-brimstone energy in “Why do the nations so furiously rage together.” His onstage colleague Brian Giebler showed that tenors can storm, too, in a temperamental “Thou shalt break them” that ended with him slamming his score shut." - Corinna da Fonseca-Wollheim, The New York Times



Sondheim: Into The Woods

Charlottesville Opera, Charlottesville, VA; Andy Anderson; July, 2018

"No matter how many times audiences have visited the titular setting in Stephen Sondheim's INTO THE WOODS, it's likely they've never seen the woods quite like in Charlottesville Opera's clever and masterful production running through August 5 at the Paramount Theatre. Brian Giebler may have outgrown the beanstalk but proves that age doesn't matter onstage, bringing loads of energy and childlike mannerisms to the pivotal role of Jack. His spotless tenor vocals are a highlight of the production." - Jeremy Bustin,



Bach: St. John Passion

Baldwin Wallace Bach Festival, Berea, OH; Dirk Garner; April, 2018

"The aria soloists each brought personality and a high degree of musicality to their work and were markedly different in voice from the leading characters. There was not a weak link in the bunch. The sweetness of Giebler’s impressive high tenor created the image of a youth witnessing the passion unfolding before him, yet only able to internalize his thoughts about the action. Giebler was especially fine in the coloratura da capo aria Erwäge (“Ponder”). In the repeated first section, he reduced his dynamic, yet was in full control of his sound and the many notes. He was the only one of the soloists who did much in the way of added ornamentation during the da capo repeats." - Timothy Robson,



J.S. Bach: St. John Passion

New York Baroque Incorporated, New York, NY; Julian Wachner; April, 2017


"Eight hard-working singers of the Choir of Trinity Wall Street, doubling as soloists and mercilessly exposed choristers in a performance of Bach’s “St. John Passion” with the early-instrument ensemble New York Baroque Incorporated, conducted by Julian Wachner at St. Paul’s Chapel on lower Broadway, offered many satisfying moments. Perhaps the finest was the tenor Brian Giebler’s aria, “Erwäge” (“Consider”), rendered with lovely tone and deep expressivity, and beautifully accompanied by the violinists Lorenzo Colitto and Beth Wenstrom." - James Oestreich, The New York Times



Handel: Esther

Choir of St. Luke in the Fields, New York, NY; David Shuler; March 2015


"But most impressive over all was Brian Giebler, a tenor, singing Mordecai with bright, clear tone and lively personality." - James Oestreich, The New York Times

Schönberg: Les Misérables 

Balagan Theatre, Seattle, WA; Nathan Young; September 2013


"One happy find among the young leads is Brian Giebler, whose choirboy looks and faultless high tenor make him a winning Marius, the ardent young revolutionary." - Misha Berson, Seattle Times


"Hodgins as the older Cosette also manages some beautiful vocal moments and she's the perfect counterpart for the dashing Giebler whose voice would make anyone melt." - Jay Irwin,

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