"osa was the Canadian baritone Brett Polegato, who has previously sung fine Onegins for the festival. He was in excellent voice here, plenty of muscle to his juicy baritone sound, his Posa every inch the fiery idealist...."
"No one will doubt the unshaking sincerity of Brett Polegato’s ever-loyal Kurwenal. Perfectly in character both vocally and dramatically... Polegato is outstanding in conveying his double suffering."
Seen and Heard International
"Polegato’s Onegin… unfailingly musical in his phrasing and breath control, with excellent diction, chilling insouciance in the rejection scene, thrilling high notes and a touch of genuine despair…"
"Brett Polegato’s Kurwenal was outstanding, portrayed with absolute dignity, a sorrowful tone and vocal perfection."
One of today’s most sought-after lyric baritones on the international stage, Canadian-Italian Brett Polegato has earned the highest praise from audiences and critics for his artistic sensibility: "his is a serious and seductive voice" says the Globe and Mail, while the New York Times has praised him for his "burnished, well-focused voice", which he uses with "considerable intelligence and nuance". Since finishing first among the men at the 1995 Cardiff Singer of the World competition, his career has encompassed over fifty operatic roles at the world’s most prestigious venues including La Scala, l’Opéra National de Paris, the Glyndebourne Festival, the Lyric Opera of Chicago, Houston Grand Opera, the Teatro Real, the Concertgebouw Amsterdam and the Carnegie Hall. He has made a name for himself in numerous dramatic roles, most notably the title roles of Eugene Onegin and Don Giovanni, Il Conte Almaviva Le nozze di Figaro and Pelléas Pelléas et Mélisande.
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de Brétigny, Manon
Metropolitan Opera, September 2019
Padding out the progressively tragic love duets of Manon and des Grieux are comical scenes about the wicked and moralistic men of Paris, all excellently sung at the Met: … the baritones Brett Polegato and Artur Rucinski, Mephistophelean as de Brétigny and Lescaut, respectively...
Joshua Barone, The New York Times, 26 September 2019
Brett Polegato made a fine debut as De Brétigny with a clear baritone...
Eric C. Simpson, New York Classical Review, 25 September 2019
Posa, Don Carlo
Grange Park Opera, June 2019
Posa was the Canadian baritone Brett Polegato, who has previously sung fine Onegins for the festival. He was in excellent voice here, plenty of muscle to his juicy baritone sound, his Posa every inch the fiery idealist....
Mark Pullinger, Opera magazine, August 2019
‘…and most thrilling of all, Brett Polegato, utterly involving as the heroic firebrand Rodrigo – a true Verdian baritone, with a warmth and directness in the voice that made his character profoundly convincing.’
Ashutosh Khandekar, Opera Now, September 2019
Canadian baritone Brett Polegato returns to Grange Park Opera, where he sang Onegin and Marcello (Bohème). His Marquis of Posa is a confident man, an idealist with a healthy dose of realism, a friend and soldier with a strong sense of honour. His warm and dark timbre is the perfect match for Capalbo’s ringing top notes in their duets in Acts I and III. His final aria is particularly moving.
Valeria Vescina, Seen and Heard International, 8 June 2019
As Posa, Brett Polegato was the surprise packet of the evening, a proper Verdian baritone producing a big sound with enormous warmth and feeling, without faltering when moving into the higher parts of the baritone range so loved by Verdi. The ebb and flow of the discourse between two strong men was riveting.
David Karlin, Bachtrack, 7 June 2019
Brett Polegato's Rodrigo was very much the old soldier. His performance robust and vigorous, and in their Act One duet he and Capalbo seemed to almost be vying with each other for who could phrase the most robustly. There is no doubting the vehemence and power of his Act One outburst to Filippo about the Low Countries. His final death scene was moving indeed.
Robert Hugill, Opera Today, 10 June 2019
the superb baritone of Brett Polegato as Rodrigo. Mr. Polegato’s final aria was sung with heart-breaking lyricism as he lies mortally wounded from an off-stage gunshot.
Mark Ronan, The Article, 10 June 2019
Sharpless, Madama Butterfly
Irish National Opera, March 2019
Brett Polegato made an excellent Sharpless, the sweet heft of his baritone voice announcing Butterfly's cruel fate
Andrew Larkin, Bachtrack, 25 March 2019
... Brett Polegato a deeply concerned and worried Sharpless
Ian Fox, Opera magazine, July 2019
Dr Talbot, Dinner at Eight
Wexford Festival Opera, November 2018
Brett Polegato used his seductive baritone to good effect in his portrayal of the serial adulterer Dr. Joseph Talbot. He possesses a strong voice with a warm timbre, and displayed real skill in producing an expressive, clearly articulated performance. Polegato was so successful at bringing Joseph alive, that one could only hope that Kitty’s husband would discover the affair and administer a good beating.
Alan Neilson, Operawire
Lanaudière Festival, August 2017
Brett Polegato had a great success in his role debut as Amfortas. The remorse and anguish of the king could be heard in his plangent voice and seen in his pained expression.
Arthur Kaptainis, Classical Voice America
Brahms' German Requiem
Calgary Philharmonic Orchestra, February 2017
Polegato, a superior singer in both opera and in concert, gave another of his finely crafted, musically sensitive performances, his voice by type and delivery just what is needed for this music. Both of the movements in which he sang were made special by his outstanding musicianship and by the sheer beauty of his voice.
Kurwenal, Tristan und Isolde
Teatro dell'Opera di Roma, November 2016
Brett Polegato is a rough diamond of a Kurwenal... conveying a continually striking dramatic presence and finding a touching warmth and tenderness in his finely achieved third act.
George Hall, Opera magazine, March 2020
Title role in Tchaikovsky's Eugene Onegin
Grange Park Opera, September 2015
Brett Polegato’s Onegin, ever-resonant in a world-wearing manner, unfailingly musical in his phrasing and breath control, with excellent diction, chilling insouciance in the rejection scene, thrilling high notes and a touch of genuine despair in the final moments.