Press

Possessed of an imposing build and a rugged, perfectly articulated baritone

Opera News

Baritone Brian Mulligan in particular distinguished himself as the villainous Don Pizarro, delivering powerful melodies with malevolent passion.

Pittsburgh Post-Gazette
Critical Acclaim:

Pittsburgh Symphony – Fidelio

“Baritone Brian Mulligan in particular distinguished himself as the villainous Don Pizarro, delivering powerful melodies with malevolent passion.” Jeremy Reynolds, Pittsburgh Post-Gazette {...}

Brian Mulligan offered a rounded baritone with impressive evenness throughout the registers...his aria proper showed off a lovely legato.

Bachtrack
Critical Acclaim:

Opera Rara – Le Willis

“As Guglielmo, Brian Mulligan sang with resonance and bite in a role that tests the singer at both ends of a very wise range”. Alexander Campbell, Classical Source “Puccini’s... {...}

Brian Mulligan, an American baritone who made his debut here in Salzburg, gives a lot of nobility to the role of Creon.

Forum Opéra
Critical Acclaim:

Salzburg Festival – Oedipe

“Brian Mulligan a malevolent edge to her brother, Créon.” Financial Times «Brian Mulligan, baryton américain qui fait ici ses débuts à Salzbourg, donne beaucoup de noblesse au rôle de... {...}

Mulligan fully engaged with the audience, dishing up the macabre patter with focused, burnished tone, crisp diction, and unfettered glee...

Opera News
Critical Acclaim:

Review: ‘Walden’ and ‘From the Diary of Virginia Woolf’

“ON MARCH 14 at Baruch Performing Arts Center, powerhouse baritone Brian Mulligan and the elegant pianist Timothy Long presented two song cycles based on texts by famous diarists: the... {...}

Hats off to Brian Mulligan for reviving this repertory with heart and soul and a voice of burnished authority. The legends whose voices I associate with this music were Robert Radford (British), John McCormack (Irish), and Paul Robeson (America), whose way with the words and music touched the heartstrings and made you cry. Brian Mulligan has been paying attention if not to those models to others who possessed the same kind of power. Today he has it, too.

Pundicity
Critical Acclaim:

Review: Old Fashioned

“They don’t write songs like this anymore, and if they did, who would sing them? Hats off to Brian Mulligan for reviving this repertory with heart and soul and... {...}

"Baritone Brian Mulligan was a beautiful Golaud, a tall figure with a matching voice. Vocally excellently groomed. Within the limited space the role provides, he played a credible middle-aged man, who transforms from a naive, well-meaning husband into a suspicious, jealous potentate, who seems to value more the certainty that his young wife has not cheated on him than her survival.

Place de l'Opera
Critical Acclaim:

Golaud at Dutch National Opera

„Bariton Brian Mulligan was een prachtige Golaud, een rijzige gestalte met bijbehorende stem. Vocaal uitstekend verzorgd. Binnen de beperkte bewegingsruimte die de rol biedt, speelde hij een geloofwaardige middelbare... {...}

In Old Fashioned he performs songs made popular by the great American baritones of the 20th century, such as Nelson Eddy, Lawrence Tibbett and Leonard Warren, sailing through them from a whisper to a roar. He sounds very comfortable in this repertoire, from the ardent romanticism of d'Hardelot's Because to the goonish On the Trail of the Lonesome Pine, famously performed by Laurel and Hardy.

Opera Now
Critical Acclaim:

Review: Old Fashioned

“The home page of Brian Mulligan’s website highlights a review stating that he possesses ‘a voice that rich, secure, and really, really big’, and I am happy to concur... {...}

Mulligan’s sturdy baritone and soulful acting assured an appealing Mandryka.

Opera Warhorses
Critical Acclaim:

San Francisco Opera – Arabella

“Mulligan’s supple baritone did not tire, and his impeccable technique made his solid, salt-of-the-earth portrayal of Mandryka even and free from low to high range. We could see and... {...}

Features:

A Star, Yes, but No Hero in Arabella

Most male characters in opera are either heroes or villains. Among the rest, there is Arabella’s good-bad-good Mandryka. Baritone Brian Mulligan, memorable here in 2012 in the title role... {...}

Brian Mulligan (also Donner in Rheingold) sang Gunther with the voice of a king masked by a softness in physical presence that made him easy prey for Hagen.

Richard S. Ginell, Classical Voice America
Critical Acclaim:

San Francisco Opera – Ring Cycle

“Baritone Brian Mulligan unfurled a resplendent baritone as the thunder god Donner and returned in Götterdämmerung as a weak-willed but smoothly sung Gunther.” -Harvey Steiman, Seen and Heard International (June 19,... {...}