Critical Acclaim

Canadian Opera Company – Carmen

As the doomed leading man, Bryan Hymel was vulnerable and powerful by turns, but always poignant. His sweet voice spins each note with lovely delicacy, matched only by the ferocity he exudes in desperate anger.

Roselyn Kelada-Sedra, Plank Magazine, February 8, 2010

New Orleans tenor Bryan Hymel turned in a passionate and thrillingly sung Don José.

Ken Winters, The Globe and Mail, January 28, 2010

[Hymel] soared in the final act, revealing a vulnerable and impassionate Don José at his wits’ end.

L.H. Tiffany Hsieh,  La Scena Musicale, February 1, 2010

Hymel delivers a powerful portrayal of Don José’s degeneration from dutiful soldier to an outlaw who is gradually consumed by his passion.

Madaline Hubert, The Epoch Times, February 9, 2010

Canadian Opera Company - Madama Butterfly

As Lt. Pinkerton, the amorous American officer who loves, then leaves, Butterfly in an act of callously amorous imperialism, tenor Bryan Hymel makes an impressive company debut, bringing both a physical and a vocal swagger -- each equally fearless -- to a role that becomes increasingly less flattering the better it is performed.

                                                              John Coulbourn, The Toronto Sun

Hymel's compact, shining tenor was a pleasure to hear, even when you wanted to slap his character's face. Pinkerton should be both attractive and obtuse, and Hymel worked the combination to the very end, seeming almost as callow in his regret as in his egotism. But he made me believe in the character's tenderness during his major scene with Butterfly, as the two indulged in mutual incomprehension of the most intimate sort.

                                                  Robert Everett-Green, The Globe and Mail

English National Opera - Madama Butterfly

Bryan Hymel makes an auspicious ENO debut as Pinkerton (for once, here’s an American import worth the plane fare), his big, ringing tenor wrapped up in Colgate smiles and boyish naivety.

Neil Fisher, The London Times

Boston Lyric Opera - Rusalka

The whole level rose with the entrance of Bryan Hymel’s Prince, a Wexford-tempered impersonation notable for ardent acting and a remarkably pleasing, secure tenor.

David Shengold, Opera

Bryan Hymel was ardent and charismatic as the inconstant Prince, his gorgeous lyric tenor making it easy to understand why Rusalka would risk everything for love. His singing was simply thrilling, stopping time when he hooked into a high note to let it blossom and breathe, releasing a ripple of excitement in the audience when he let it go.

                                                            Kalen Ratzlaff, Opera News Online

Wexford Festival - Snegurochka

Meanwhile Bryan Hymel, as the Tsar, has a voice like Roberto Alagna's in his prime…

Michael Church, The Independent

The evening’s high-flyers include…Bryan Hymel’s vivid Tsar Berendey…

George Hall, The Stage

• George London Foundation – Recital

  Mr. Hymel's principal attributes are a strong, flexible tenor and an attractive warm timbre. He began with German works - Beethoven's "Adelaide," two Strauss songs and a Lehar aria - and projected them with a current of heroic steeliness (lightened somewhat in the Lehar). But it was hard not to feel that for Mr. Hymel, the real business at hand was the Italian repertory in the second half. In a group of sentimental songs (including "Torna a Surriento") as well as "Mamma, quel vino è generoso" from Mascagni's "Cavalleria Rusticana, Mr. Hymel sounded entirely at home, delivering both the subtle decoration and the heart-on-the-sleeve emotion that drives the Italian style.

  Allan Kozinn, The New York Times, March 24, 2008

• New Orleans Opera – Il Trittico

  Standout singers included tenor and New Orleans native Bryan Hymel, in ardent form as Luigi in Il tabarro.

  Opera Now, March/April 2008

• Tenor Bryan Hymel continues to show himself as one of the finest young voices to come out of New Orleans in recent years. Playing a pair of lovers -- Luigi in "Il Tabarro" and the bright-eyed Rinuccio of "Schicchi" -- he offered an appealing clarion voice, finding the appropriate heft as the doomed stevedore, and delivering what became a heart-tugging tribute to New Orleans with Rinuccio's big aria.

  Nola.com, November 20, 2007

• Philly Pops

  Before launching into more than half-century's worth of beloved Broadway tunes, Mr. Nero saluted the passing of a vocal hero with a tribute to Luciano Pavarotti. Sung by Bryan Hymel, a second-year resident artist at the Academy of Vocal Arts, the chill-inducing notes swirling around Verizon Hall offered a solemn and reverent farewell to the magnificent tenor, and as Mr. Nero remarked, "performances by singers like [Hymel] won't allow us forget him.

  The Bulletin, October 8, 2007

• Bard Music Festival – Eine Florentinische Tragödie

  As her aristocratic lover, Bryan Hymel mustered a striking tenor that cut through ensembles; as yet he works more in terms of finding healthy through lines than of inflecting words, but his is a talent to watch.

  Opera News, November 2007

• Wexford Festival Opera – Rusalka

  Among singers, the American tenor Bryan Hymel impressed hugely with his distinctive, ringing voice as employed in the role of the Prince.

  Opera Now, November/December 2007

• The young American tenor Bryan Hymel made a most impressive European debut as the Prince, with heroically robust tone and good musical instincts. He seemed happier the higher he went, with a stunning top C in the final duet, which he hung on to as long as musically decent, and then sang his final phrases in melting half voice. Lovely!

  Opera, October 2007

• The score sounded absolutely marvelous. The same held true from a vocal point of view. With his strong, distinctive voice, American Bryan Hymel made a splendidly bold, virile Prince.

  Opera News, September 2007

• To this, add some exceptional voices in the major roles. Bryan Hymel thrills as the Prince.

  The Stage, George Hall, June 5, 2007

• The part of the Prince is sung by Bryan Hymel, a fine tenor who sings with great passion.

  Independent ie, June 16, 2007

• Tenor Bryan Hymel is the ardent Prince.

  Pat O’Kelly, The Irish Independent, June 6, 2007

• By contrast…and the enraptured, perplexed Prince of US tenor Bryan Hymel was ardent and engaging.

  Michael Dervan, The Irish Times, June 4, 2007

• George London Foundation Competition

  There aren’t too many arias more dramatic than Mamma, quel vino è generoso from Cavalleria Rusticana and tenor Bryan Hymel communicated that drama with amazing expressivity. This was a performance far more juicy than many heard at the opera house over the years. And oh, those high notes!

  Fred Kirshnit, The New York Sun, March 5, 2007

• Union Avenue Opera (St. Louis) – Norma

  The principal voices are all superb, but Bryan Hymel, who sings Pollione, shines above the rest. His is a truly glorious tenor voice. Such easy, hall-filling power—a clarion of rich beauty! At only twenty-six he is indeed a talent to be watched.

  Steve Callahan, KDHX Theatre Review, July 28, 2006

  • Academy Of Vocal Arts – La Navarraise

Adding to the impact was Bryan Hymel's suave tenor.

 

Robert Baxter, The Courier Post, January 21, 2006