top of page




Grammy Award-winner Errin Duane Brooks is becoming one of the most sought-after tenors in the industry. Last season’s engagements included covering Calaf in Puccini's Turandot and reprising Adult Nathan in Terrence Blanchard's Fire Shut Up in My Bones, both with The Metropolitan Opera; Rodolfo in Puccini's La bohème with Port Angeles Symphony; and his role début as Otello with Vashon Opera. Next season, Mr. Brooks will return to The Metropolitan Opera to sing the First Priest/Armored Man in Die Zauberflöte, and he’ll sing Pinkerton in Divaria Productions’ Madama Butterfly.

Recently at The Metropolitan Opera, Mr. Brooks covered the title character in Verdi's Otello and sang the First Armored Man in Mozart's Die Zauberflöte, the First Noble in Wagner’s Lohengrin, and the High Priest in Mozart's Idomeneo. He also recently made several débuts, including his role début as Bacchus in Strauss' Ariadne auf Naxos in house débuts with both Vashon Opera and Lakes Area Music Festival; his company début with Des Moines Metro Opera as Robbins in Porgy and Bess; and his off-Broadway début as Mr. Charles in Ricky Ian Gordon and Lynn Nottage's Intimate Apparel at Lincoln Center Theater. Mr. Brooks has sung Mingo in Porgy and Bess and Adult Nathan in Fire Shut Up in My Bones in multiple seasons with The Met, as well as Normanno in Lucia di Lammermoor. He also joined Hudson Valley International Festival of the Voice to sing Canio in Pagliacci and Connecticut Lyric Opera to sing Tristan in Tristan und Isolde. [read more...]


"...His is a truly powerful dramatic tenor that has tremendous volume and stability..." – OperaWire

Hérodiade – Tenor Errin Duane Brooks also put in a truly mesmerizing turn as the prophet Jean. While there were a few moments where he seemed overly fixated on his score instead of his scene partners, the tenor shone vocally the entire night. His is a truly powerful dramatic tenor that has tremendous volume and stability. From his first cries of “Jézebal” at the start of the opera, it was clear that his instrument was a truly special one and he never once relented in delivering with the same level of power and precision.


"...muscular musical portrayals that stood out..." – OperaWire

Die Zauberflöte – Richard Bernstein and Errin Duane Brooks were excellent as the Priests and the Armed Men, both delivering muscular musical portrayals that stood out from amidst the cast; they also found a nice balance when singing together.


"...Brooks’ Alvaro was all passion as his voice boomed fully..." – OperaWire

La Forza del destino – A showstopping tenor... From his first entrance, it was obvious that Brooks’ Alvaro was all passion as his voice boomed fully with all the ardor as Alvaro declared his love for his Leonora. Even in the slower section of the first duet with Leonora, Brooks’ had no qualms in letting out his full voice. And that was even more evident in his aria “Oh! tu che in seno agl’angelli.” Where more tenors would begin quietly with mezza voce, Brooks sang each line with a mezzo forte sound that would eventually rise to a fortissimo on his final high B flat at the end of the aria. The effect was magnificent... And the B flat at the end was sustained, giving the aria a showstopping quality. In the second duet “Ne Gustare m’e dato un’ora di quiete” the voice was heroic allowing it to project throughout the auditorium... that desperation was heard as he phrased each note with forceful and accented sound.


Vanessa Uzan

Founder & President

Elliot Brown

Agent | Classical & Artist Promotion

Adrienne Boris

Agent | Classical & Concert

bottom of page