Biography

Singing with "a liquid baritone of great charm," "a highly attractive legato," and "precise patter elocution" (Parterre Box), Brian J. Alvarado is an emerging interpreter of known, unknown, and new vocal repertoire. 

Through the end of 2022, he revisits Leporello in Long Island Lyric Opera's production of Don Giovanni at The Madison Theatre, and appears in Center for Contemporary Opera's workshop of Niloufar Nourbakhsh and Lisa Flanagan's We, the Innumerable at National Sawdust. In concert, he sings the bass solos in Handel's Messiah with Brooklyn Contemporary Chorus, and makes his West Coast debut as an Apprentice Artist with I Cantori di Carmel, singing the bass solos in Bach's Christmas Oratorio.

In recent seasons, he has performed traditional roles such as Leporello in Don Giovanni with hometown companies Bronx Opera and Lighthouse Opera, both The Magic Flute’s Papageno with Opera Theatre of Montclair and the Speaker with Barn Opera, Schaunard in La bohéme with Amore Opera, Regina Opera, and Opera New York, Dandini in La Cenerentola with Bay View Music Festival and Opera Theatre of Montclair, and Sciarrone in Tosca with New Rochelle Opera, Long Island Lyric Opera, and Amore Opera. 

 

His early music and baroque credits include Nettuno in La liberazione di Ruggiero with dell’Arte Opera Ensemble (for which Oberon’s Grove praised his "voice of power and warmth"), Melisso in Alcina with OperaRox Productions, Seneca in Killer Queen Opera's filmed production of L'incoronazione di Poppea, the Adonis cover in Venus and Adonis with New Camerata Opera, and Caronte in L'Orfeo with the New York City Guitar Orchestra.

 

Roles within the realm of Operetta and Musical Theatre include the title role in The Sorcerer and Ludwig in The Grand Duke with Utopia Opera, Pish-Tush in The Mikado with Bronx Opera, a "sonorous" Baron de Pictordu in Cendrillon with dell’Arte Opera Ensemble (Limelight Magazine), Cascada in The Merry Widow at the Minuetto Music Festival, Lopez in El Barbero de Sevilla with New Camerata Opera, Magaldi in Evita at the Bay View Music Festival, Lieutenant Barri in Passion and Bob the Saw in Threepenny Opera at Susquehanna University, and the title role in Sweeney Todd with City Island Theatre. 

 

Additional roles include Mercutio in Roméo et Juliette with West Side Opera, the Badger/Parson in Příhody lišky Bystroušky with dell'Arte Opera Ensemble, Kuno and the Ottokar cover in Der Freischütz, and Corporal Nym and the George Page Cover in Sir John in Love with Bronx Opera, Fiorello in Il Barbiere di Siviglia and Silvano in Un Ballo in Maschera with Amore Opera, Truffaldin in Ariadne auf Naxos, the Sheriff in Martha, Jacob in The Ballad of Baby Doe, and the Captain and Zaretzky in Eugene Onegin with Utopia Opera, Vergil’s Ghost in Rachmaninoff’s Francesca da Rimini with Garden State Opera, the Tsarevich Afron cover in Zolotoy Petushok with New Opera NYC, the Alcade/Chirurgo cover in La forza del destino with New Amsterdam Opera, Simone in Gianni Schicchi at Susquehanna University, and all of the bass clef comprimarios in Macbeth with Empire Opera. 

 

He has premiered the soloist role in the virtual premiere of Steven Sérpa's American Prize finalist micro-opera these wings are meant to fly with Thompson Street Opera Company, Le Grand Ecuyer/Secretary of Commerce in Whitney George's opera film Julie with Camerataworks, Billy Eckstine in Richard Thompson’s Jazz opera Sassy with Trilogy Opera Company at the NJPAC, Donald Wilkinson in Francine Trester’s chamber opera Keepers of the Light at the Nahant Music Festival, Mark Greene in Transportation Transformation during WNYC/WQXR's 10th anniversary celebration at Greene Space, Rey 3 in the American premiere of Jose Luis Gonzalez Moya’s nativity opera El Rey Nacio, and the Murdered Man in Kris McCormick’s chamber opera In a Grove with the Susquehanna New Music Ensemble. He has additionally workshopped multiple roles in Cecil Price Walden’s The Contract Player, Nick Scarim’s Sick!, and Alicia Lieu’s Unwrapping Fortune, and covered the 90th birthday premiere of Thea Musgrave’s baritone monodrama La Vida es Sueño.

In concert, he has sung bass solos in Handel’s Messiah (Susquehanna University Symphony Orchestra; Church of the Intercession), Bach’s BWV 147 (St. Peter’s Bach Collegium), Keiser’s Markuspassion (Nahant Music Festival), Haydn’s Nicolaimesse (Musikapiphany), Mozart’s Vesperae solennes de confessore (Continuo Arts Symphonic Choir), Gounod’s St. Cecilia Mass (Collegiate Singers), and Schubert's Mass in G (Susquehanna University Choir). Chorally, he has sung in the ensembles of Teatro Nuovo, Teatro Grattacielo, Juilliard Opera, New Amsterdam Opera, Orchestra of the Bronx, Civic Chorale of NJ, Continuo Arts Symphonic Choir, Collegiate Singers, St. Peter’s Bach Collegium, Lyrica Classic, MuSE Chorus, Sonaré, and Susquehanna University’s Choir, Chorale, and Chamber Singers.

 

Brian has been an Apprentice Artist at Teatro Nuovo, a Young Artist with dell'Arte Opera Ensemble, a Vocal Apprentice at the Nahant Music Festival, a Student Artist at the Bay View Music Festival, an Emerging Artist at the Minuetto Music Festival, and has participated in outreach performances for children with Bronx Opera, Opera Theatre of Montclair, and Prelude Opera. He received his Bachelor of Arts in Creative Writing at Susquehanna University, and currently resides in his native New York City.

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Resumé
2010 - present
2010 - present