From San Francisco to Washington DC, Baroque to Modern, What Stays Constant in Messiah Performances
There's a moment in every performance I strive for—when the room goes completely still. Not applause, not standing ovations. Just silence. That intensity where you know people are actually taking a moment to reflect, to soak in what they just experienced. That, to me, is the highest form of audience appreciation.
This season, I've been thinking a lot about those moments. About trust—trusting the work, trusting the people I make music with, and trusting that when you put something genuine into the world, it resonates.
I'm thrilled to share some news amidst my cross-country Messiah tour that's been a beautiful reminder of exactly that.
Why Messiah Still Keeps Me on My Toes
For me, the holidays are all about family and tradition. Whatever your own tradition (be it watching “Christmas with the Tabernacle Choir”; the annual Rockefeller Christmas Tree Lighting Special; or listening to Kings College Lessons and Carols) we all have those traditions that bring about the spirit of the holiday. Personally, I have been privileged to travel almost every December of my professional career singing Handel’s Messiah for audiences around the world. While traveling alone away from family might sound lonely, I cherish experiencing different parts of the country (and world) during the holiday season.
To that end, I take great responsibility in opening Messiah singing “Comfort Ye,” as I attempt to calm the frenzy of the holidays and help the audience focus in on the story and being present in the moment. This December, I'm fortunate to do just that with American Bach Soloists, the Charleston Symphony, and National Philharmonic.
I've had the honor of singing Messiah with orchestras across the country and around the world—from the Virginia, Memphis, Charlotte, and Asheville Symphony Orchestras to the Rhode Island and Naples Philharmonics, Trinity Wall Street (cond. Dame Jane Glover), and Music of the Baroque (cond. Nicholas Kraemer—available on recording). I've even performed the piece internationally in South Korea with the Seoul Metropolitan Chorus.
During the pandemic, I didn’t have the opportunity to present Messiah in person, but The New York Times featured my performance of "Comfort Ye" in an article highlighting Messiah soloists who wouldn't be heard that season. It was a strange, quiet time—but it reminded me how much this music means to people, especially during the holidays.
What I love equally about Messiah is that you can never just open the score and sing it. Every season, I go back and tear apart the arias the way I would anything I'm learning new. I return to the text. I think about ornamentation—sometimes I'll hear a line in the violins and try to incorporate that into my solo line. You have to find what's changed in your voice, in your body, in your understanding of the piece.
And then, when you step on stage, you can put all of that aside. You trust the technique, you trust the conductor, and you focus on connecting with the audience—finding the meaning and the joy of the season together.
As the Chicago Classical Review wrote:
"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
If you’re unable to join me in person this year, here are a couple of clips from recent performances.
REQUIEM of LIGHT Nominated for a GRAMMY® Award
I am thrilled to be the featured tenor soloist on the newly GRAMMY® nominated album, Requiem of Light, for BEST CHORAL PERFORMANCE.
When we recorded this album earlier in the year, I knew that Patti Drennan's new Requiem was something special—there's an intimacy to it, a vulnerability that just pulls you in. But I am so glad it has resonated with so many listeners, and now with the voting members of the Recording Academy.
We're nominated alongside some incredible projects by dear friends and colleagues, and I cannot wait to celebrate the success of these albums in LA on February 1st.
If you're a voting member of the Recording Academy, I'd be honored to have your consideration. And for everyone else—thank you for being part of this journey. This kind of recognition doesn't happen without the people who show up, listen, and connect with the music.
Looking Back: A Year of Music and Meaning
What a year 2025 has been! From performances with the Austin Symphony, Ars Lyrica Houston, Carmel Bach Festival, Colorado Symphony, Knoxville Symphony, Oregon Bach Festival, Present Music, Savannah Philharmonic, and Voices of Ascension; to recording two new albums, one receiving a GRAMMY® nomination and one yet to be released–my career has been very fulfilling! But none of this would be possible without the love and support of my family at home, especially my husband. The support he provides while I'm on the road, taking care of our son and our dogs, is unmatched. We were thrilled to celebrate our son's first birthday this year, and shortly after we took him on his first international trip to Spain. But as the year winds down, I find myself thinking a lot about kindness.
One of the lessons I carry with me from the conductors and colleagues I admire most is that kindness is everything. Sure, we all want to make the best music we can—but making it with people you genuinely like and respect? That's what stays with you. That's what brings you back.
So to all of you—whether you've come to a performance, performed together with me, listened to a recording, or just followed along from afar—thank you. Thank you for being part of this. I hope your holiday season is filled with warmth, connection, and maybe a few moments of beautiful silence.
With gratitude,
Brian
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