Lawrence Brownlee

Biography

Born: 1973; Youngstown, OH  
Something of a rarity in the early twenty-first century, tenor Lawrence Brownlee is best known for his finesse in bel canto roles; he also managed to be one of the few praiseworthy elements in the critically reviled 2005 premiere of Lorin Maazel's opera 1984. Brownlee routinely draws accolades for his elegant phrasing and his agility in high tessituras.

The Ohio native (born Larry Everston Brownlee, Jr.) took his undergraduate degree from
Read more Anderson University, obtained his master's from Indiana University, and participated in the Seattle Young Artists program. At age 28, he was an audience favorite at the 2001 Metropolitan Opera National Council Auditions, where he sang Donizetti and Rossini. That season he made his debut at La Scala as Count Almaviva in Rossini's Il barbière di Siviglia. This success was soon followed by performances in works of like composers at regional American opera houses, as well as various houses in Italy and Switzerland. Two critics declared that he "stole the show" in a 2004 Washington Concert Opera performance of Rossini's La donna del lago, and he earned similarly positive critical receptions in ensuing appearances in works as diverse as Rossini's L'Italiana in Algeri, Catán's Florencia in the Amazon, and 1984. (Brownlee first worked with composer-conductor Maazel in a New York Philharmonic concert featuring excerpts from Gershwin's Porgy and Bess.) Seattle Opera snapped him up for lead roles over the course of several seasons, while Brownlee continues to perform on the international stage as well as in concert with such orchestras as the Detroit Symphony and Berlin Philharmonic. Although his opera repertoire is primarily limited to Handel, Mozart, Bellini, Donizetti, and Rossini, Brownlee has a wider concert list, including particularly the works of Britten. Read less

There are 16 Lawrence Brownlee recordings available.

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Formats & Featured

Biography

Born: 1973; Youngstown, OH  
Something of a rarity in the early twenty-first century, tenor Lawrence Brownlee is best known for his finesse in bel canto roles; he also managed to be one of the few praiseworthy elements in the critically reviled 2005 premiere of Lorin Maazel's opera 1984. Brownlee routinely draws accolades for his elegant phrasing and his agility in high tessituras.

The Ohio native (born Larry Everston Brownlee, Jr.) took his undergraduate degree from
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WORKS ALBUMS
TITLE/COMPOSER
LABEL
Stabat Mater: Stabat Mater dolorosa (Introduction)
Stabat Mater: Cujus animam gementem
Stabat Mater: Quis est homo
Stabat Mater: Pro peccatis suae gentis
Stabat Mater: Eja, Mater, fons amoris
Stabat Mater: Sancta Mater, istud agas
Stabat Mater: Fac, ut portem Christi mortem
Stabat Mater: Inflammatus et accensus
Stabat Mater: Quando corpus morietur
Stabat Mater: Amen. In sempiterna saecula
Sinfonia
Act I Scene 1: Introduzione: Serenate il mesto ciglio - Cavatina e Stretta dell'Introduzione: Delle donne l'arroganza (Chorus, Elvira, Zulma, Haly, Mustafa)
Act I Scene 1: Recitativo: Ritiratevi tutti (Mustafa, Zulma, Elvira, Haly)
Act I Scene 3: Cavatina: Languir per una bella (Lindoro)
Act I Scene 3: Recitativo e Duetto: Ah, quando fia (Lindoro, Mustafa)
Act I Scene 3: Duetto: Se inclinassi a prender moglie (Lindoro, Mustafa)
Act I Scene 4: Coro: Quanta roba! Quanti schiavi! - Cavatina: Cruda sorte! Amor tiranno! (Chorus, Isabella)
Act I Scene 4: Recitativo: Gia ci siam. Tanto fa (Isabella, Taddeo, Haly)
Act I Scene 5: Recitativo: Ah! Isabella ... siam giunti a mal partito (Taddeo, Isabella)
Act I Scene 5: Duetto: Ai capricci della sorte (Isabella, Taddeo)
Act I Scene 6: Recitativo: E ricusar potresti (Zulma, Lindoro, Elvira) - Scene 7: Ascoltami, Italiano (Mustafa, Lindoro) - Scene 8: Dunque degg'io lasciarvi? (Elvira, Mustafa, Haly)
Act I Scene 8: Aria: Gia d'insolito ardore nel petto (Mustafa)
Act I Scene 9: Recitativo: Vi dico il ver (Zulma, Elvira, Lindoro)
Act I Scene 10: Coro nel Finale I: Viva, viva il flagel delle donne (Chorus, Haly, Mustafa)
Act I Scene 11: Duettino nel Finale I: Oh! Che muso, che figura! (Isabella, Mustafa)
Act I Scene 12: Quartettino nel Finale I: Vo' star con mia nipote (Taddeo, Haly, Mustafa, Isabella)
Act I Scene 13: Settimino: Pria di dividerci - Seguito e Stretta: Va sossopra il mio cervello (Zulma, Elvira, Lindoro, Isabella, Mustafa, Taddeo, Haly, Chorus)
Act II Scene 11: Recitativo: Tutti i nostri Italiani (Taddeo, Lindoro)
Act II Scene 11: Coro: Pronti abbiamo e ferri e mani (Chorus)
Act II Scene 11: Recitativo: Amici, in ogni evento (Isabella, Taddeo)
Act II Scene 11: Scena ed Aria: Pensa alla patria, e intrepido (Isabella, Chorus)
Act II Scene 12: Recitativo: Che bel core ha costei! (Taddeo, Mustafa)
Act II Scene 13: Finale II: Dei pappataci s'avanza il coro (Lindoro, Chorus, Taddeo, Mustafa)
Act II Scene 14: Quartetto nel Finale II: Non sei tu che il grado eletto (Isabella, Mustafa, Chorus, Lindoro, Taddeo)
Act II Scene 15: Seguito: Son l'aure seconde, son placide l'onde (Chorus, Lindoro, Isabella, Taddeo, Mustafa)
Act II Scene 16: Stretta del Finale II: Mio signore (Haly, Elvira, Zulma, Mustafa, Isabella, Lindoro, Taddeo, Chorus)
Vier Canzonen, D688: Non t'accostar all'urna (J A Vitorelli)
Vier Canzonen, D688: Guarda, che bianca luna (Vitorelli)
Vier Canzonen, D688: Da quel sembiante appresi (Metastasio)
Vier Canzonen, D688: Mio ben ricorati (Metastasio)
Carmina Burana, Fortuna Imperatrix Mundi: O Fortuna - Coro
Carmina Burana, Fortuna Imperatrix Mundi: Fortune plango vulnera - Coro
Carmina Burana, I - Primo vere: Veris leta facies - Coro piccolo
Carmina Burana, I - Primo vere: Omnia Sol temperat - Solo per Baritono
Carmina Burana, I - Primo vere: Ecce gratum - Coro
Carmina Burana, Uf dem Anger: Tanz
Carmina Burana, Uf dem Anger: Floret silva - Coro
Carmina Burana, Uf dem Anger: Chramer, gip die varwe mir - Soli (Soprano) e Coro
Carmina Burana, Uf dem Anger: Reie
Carmina Burana, Uf dem Anger: Were diu werlt alle min - Coro
Carmina Burana, II - In taberna: Estuans interius - Solo per Baritono
Carmina Burana, II - In taberna: Olim lacus colueram - Solo per Tenore e Coro (Tenori e Bassi)
Carmina Burana, II - In taberna: Ego sum abbas - Solo per Baritono e Coro (Tenori e Bassi)
Carmina Burana, II - In taberna: In taberna quando sumus - coro (Tenori e Bassi)
Carmina Burana, III - Cours d'amours: Amor volat undique - solo per Soprano e Ragazzi
Carmina Burana, III - Cours d'amours: Dies, nox et omnia - Solo per Baritono
Carmina Burana, III - Cours d'amours: Stetit puella - Solo per Soprano
Carmina Burana, III - Cours d'amours: Circa mea pectora - Solo per Baritono e Coro
Carmina Burana, III - Cours d'amours: Si puer cum puellula - Soli (3 Tenori, Baritono, 2 Bassi)
Carmina Burana, III - Cours d'amours: Veni, veni, venias - Coro doppio
Carmina Burana, III - Cours d'amours: In trutina - Solo per Soprano
Carmina Burana, III - Cours d'amours: Tempus est iocundum - Soli per Soprano e Baritono, Core e Ragazzi
Carmina Burana, III - Cours d'amours: Dulcissime - Solo per Soprano
Carmina Burana, Blanziflor et Helena: Ave formosissima - Coro
Carmina Burana, Fortuna Imperatrix Mundi: O Fortuna - Coro


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