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Praised for his “lovely tone and deep expressivity” by The New York Times, GRAMMY® nominated tenor Brian Giebler radiates “shine and clarity” (Opera News) in every phrase using “his high-placed tenor with great skill” (Opera Magazine). His debut solo album a lad's love (Bridge Records, 2020) garnered high praise from significant industry publications including Gramophone, Opera News (Critics Choice), and San Francisco Classical Voice, debuted on the Billboard charts, and earned him his first GRAMMY® Award nomination for Best Classical Solo Vocal Album. 

 

His 2022/23 season begins leading a fully staged production of Craig Hella Johnson’s Considering Matthew Shepard with Music at Trinity Wall Street. Then, Mr. Giebler will debut with the Rhode Island Philharmonic singing Handel’s Messiah; and make return appearances with Santa Fe Pro Musica, Boston Early Music Festival, Baltimore Choral Society, and in a performance of Bach’s B Minor Mass at Carnegie Hall with the Oratorio Society of NY.

 

“The sweetness of Giebler's impressive high tenor” and his "expressive and elegant phrasing" (Cleveland Classical) have been heard as Apollo in Handel's Semele with The English Concert and The Clarion Choir in an international tour under Harry Bicket at the Theatre des Champs-Elysées (Paris), the Barbican (London), and Carnegie Hall (New York); as Adam in REV 23 at the Prototype Festival (dir. James Darrah; cond. Daniela Candillari); and in 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. Last season highlights included  a tour of the Ravinia and Caramoor Festivals singing Monteverdi with Apollo’s Fire, Haydn’s Creation with Santa Fe Pro Musica, and returning with Mark Morris Dance Group, this time to sing the choreographer’s iconic version of Handel’s L’Allegro, il Penseroso at the Brooklyn Academy of Music.

 

He has performed Stravinsky with the Cleveland Orchestra under Franz Welser-Möst; Evangelist in Bach’s St. Matthew Passion with Trinity Wall Street; Mozart at both Carnegie Hall and Lincoln Center; and Bach Cantatas with the Grand Rapids Symphony and Handel & Haydn Society. Regularly engaged for Handel’s Messiah, he has performed the work with Music of the Baroque (available on recording), the Charlotte, Memphis, and Virginia Symphonies, as well as at Carnegie Hall with the Oratorio Society of NY and Musica Sacra. Mr. Giebler sang and recorded the role of Iff the Water Genie in Wuorinen's Haroun and the Sea of Stories with Boston Modern Orchestra Project, and made his debut with Boston Early Music Festival in Germany singing in Charpentier’s Les Plaisirs and de Lalande’s Les Fontaines.

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UPDATED: JULY 2022

 

r e s s

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

Handel: Messiah

Music of the Baroque, Chicago, IL; Nicholas Kraemer; November, 2021

 

“Tenor Brian Giebler was a late substitution for Richard Croft. If his theatrical stage persona as a kind of tousle-haired, sensitive poet at times seemed to channel Reginald Bunthorne from Gilbert & Sullivan’s Patience, Giebler’s singing was terrific. His youthful, silvery tenor brought out the expressive essence of each aria, and he handled the coloratura of “Every valley” and “Thou shalt break them” with unruffled ease.” – Lawrence A. Johnson, Chicago Classical Review

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, BroadwayWorld.com

 

 

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, ClevelandClassical.com

 

 

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, BroadwayWorld.com

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