Hailed for her “luminous tones” and “lush voice,” and praised by Opera News for her “plush soprano bloom,” Grammy Award-winning American soprano Brittany Renee is amazing audiences with her finesse and shimmering stage presence.
This season will see Renee’s house débuts with San Francisco Opera as Julie in Omar and with Opera Theatre of St. Louis as Musetta in La bohème, as well as her return to the Metropolitan Opera to sing Destiny/Loneliness/Greta in Fire Shut Up in My Bones and cover Micaëla in Carmen. Most recently, Ms. Renee returned to the Met for performances of Sadie Griffith in a new production of Terrance Blanchard’s Champion, Giannetta in L’elisir d’amore, and Ancella in David McVicar’s new production of Cherubini’s rarely performed Medea, which opened the season. She also joined them for their new production of Don Giovanni, as well as for revivals of Rigoletto and Peter Grimes.
Also recently, Ms. Renee made her Lyric Opera of Chicago début in the leading role of Destiny/Loneliness/Greta in Terence Blanchard and Kasi Lemmons’ Fire Shut Up in My Bones, of which Chicago Classical Review wrote she "…was uniformly excellent from top to bottom.” This followed Ms. Renee’s Metropolitan Opera début as Evelyn in their own production of the instantly beloved opera. Praised by critics, her portrayal as Evelyn "offered an uplifting lightness, a lovely, crystalline soprano that was all youthful excitement - more from her, please!" - (Gabrielle Ferrari, Parterre Box), and "masterfully oozed vocal and physical sensuality" - (David Salazar, OperaWire). Renee also performed Annie in the Met’s historic production of Porgy & Bess,which won Best Opera Recording at the 63rd Annual Grammy Awards. In summer 2022, Brittany Renee was heard in the Metropolitan Opera’s Summer Recital Series in Central Park in a solo recital with The Florentine Opera as part of their Al Fresco Recital Series.[read more...]
"Impressive, showing a lush lyric soprano that especially shone during her solo 'Saria possible.'" – OperaWire
Giannetta in L’Elisir d’Amore – "In the role of Giannetta, Brittany Renee was impressive, showing a lush lyric soprano that especially shone during her solo 'Saria possible.' She sang this passage with staccato phrases, a quiet piano sound, and gorgeous legato phrases. Her comic timing was sensational as she interacted with the women’s chorus...in the ensembles, her voice also shone, especially in 'Io già m’immagino che cosa brami' where her patter work resonated through all the voices. Her interactions with Schultz were also crucial in helping audiences understand who this character was and why she was always around.”
"a formidable artist" – Voce di Meche
MET Summerstage – “This was the first time we heard Soprano Brittany Renee and found her to be a formidable artist [...] She rose to the challenge of Violetta's Act I aria from Verdi's La Traviata negotiating the two opposing sides of Violetta's character. In the cabaletta ‘Sempre libera’ we heard some impressive fireworks--just right for a party girl in denial. We don't claim to know anything about jazz but Duke Ellington' "In a Sentimental Mood" sounded just fine to us and illustrated her versatility.”
"...plush soprano blooms thrillingly on top..." – Opera News
Carmen – "Brittany Renee's plush soprano blooms thrillingly on top, especially in her rendition of "Je dis que rien ne m'epouvante," which demonstrates strength rather than fragility."
"...more from her please!" – Parterre Box
Fire Shut Up in my Bones – “Brittany Renee as Evelyn offered an uplifting lightness, a lovely, crystalline soprano that was all youthful excitement, more from her please!"
"... oozed vocal and physical sensuality..." – OperaWire
Fire Shut Up in my Bones – "...masterfully oozed vocal and physical sensuality."
"...sang in luminous tones about her own gorgeousness." – South Florida Classical Review
La boheme – “As the beautiful Musetta, Brittany Renee Robinson gave an assured performance that communicated desirability and jealousy without the stock, over-the-top diva gestures that so often accompany this role. In Musetta’s Waltz she caressed an embarrassed waiter and sang in luminous tones about her own gorgeousness."
"...conveyed with regal sorrow..." – Orlando Sentinel
Le nozze di Figaro – “nicely captures the Countess’s sadness, poignant among the frivolity and conveyed with regal sorrow by the excellent Brittany Renee.”