What the CRITICS
have to say...
"The brief deus-ex-machina part of Apollo was voiced with shine and clarity by Brian Giebler."
- David Shengold
“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
“Brian Giebler, in his deus-ex-machina cameo as Apollo, sang with a light, pleasing tenor.” - Eric C. Simpson, New York Classical Review
Brian as Apollo in Handel's Semele with The English Concert and Clarion Choir, under the direction of Harry Bicket. Photo by Robert Workman.
"Brian Giebler (Arnalta) used his high-placed tenor with great skill, illuminating the camp episodes but offering a ravishing 'Adagiati, Poppea'."
- David Shengold
“At Friday evening’s performance at Jordan Hall, the top-shelf cast admirably carried the serpentine plot, which often turns from tragedy to triumph and comedy to agony within the space of a few notes. For the most part, the singers inhabited their roles with great nuance, and no character was easy to wholly love or hate. The strong supporting cast further elevated the show. The best among those included Emily Marvosh devastating as the spurned empress Ottavia, Brian Giebler as a bawdy and sweet Arnalta, Sonja DuToit Tengblad doing double duty as the goddess Fortuna and the easily duped lady Drusilla, Kevin Langan as a staid, rational Seneca, and Carrie Cheron as a bratty Cupid and randy pageboy.” - Zoë Madonna, The Boston Globe
“Brian Giebler couldn’t help camping up Poppea’s cross-dressing nurse Arnalta, who realizes she soon will be ascending to be a great lady at court. Again we’ve seen this kind of thing before, but I enjoyed his voice and campy stage presence.” – Susan Miron, The Boston Musical Intelligencer
Brian as Arnalta in Monteverdi's L'incoronazione di Poppea with Boston Baroque. Photo by Kathy Wittman.
"But most impressive over all was Brian Giebler,
a tenor, singing Mordecai with bright, clear tone and lively personality." - James Oestreich,
"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’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
"His spotless tenor vocals are a highlight of
"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
Brian as Jack in Sondheim's Into the Woods with Charlottesville Opera.
Photo by Janet Moore-Coll.
"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
"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
"It’s not always the case that vocal soloists and choruses rise to the same level as their instrumental colleagues, but on Friday evening, sopranos Molly Netter and Madeline Apple Healey, countertenor Daniel Moody, tenors Brian Giebler and Jacob Perry, baritone David McFerrin, and Apollo’s Singers were every bit as polished as Apollo’s Fire itself. Moody’s bright, strong voice, Netter’s rich but lithe singing, Perry’s warm tone and communicative skill, Giebler’s expressive and elegant phrasing, and McFerrin’s robust declamation distinguished both recitatives and arias in the two cantatas, and Healey and Moody contributed a lovely duet in the “Domine Deus” of the Mass."
- Daniel Hathaway, ClevelandClassical.com
"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
Brian as Marius in Les Miserables with Balagan Theatre.
Photo by Jeff Carpenter.