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Sadie Griffith | Champion
The Metropolitan Opera
"Brittany Renee once again shows off a luscious lyric soprano and magnetic presence that promises an exciting career ahead." (Parterre Box)
“Brittany Renee sings with supple grace and charm, despite her small role as Griffith’s wife Sadie.” (Observer)
“Brittany Renee was in lovely voice, as Sadie the waitress whom Emile momentarily distracted by her flirty charm, impulsively married. Later, left at home while Emile went to the gay bar, she wrapped her pearly soprano around her lonely aria.” (New York Classical Review)
Giannetta | L'Elisir D'Amore
The Metropolitan Opera
"In the role of Gianetta, Brittany Renee was impressive, showing a lush lyric soprano that especially shone during her solo “Saria possible.” She sang this passage with staccato phrases, a quiet piano sond, and some gorgeous legato phrases. Her comic timing was sensational as she interacted with the women’s chorus..." (OperaWire)
"The Elixir of Love includes a small role-Giannetta- that is not insignificant. A soprano can make an impression in it, which Brittany Renee did." (New Criterion)
Destiny/Loneliness/Greta & Evelyn | Fire Shut Up in my Bones
Lyric Opera of Chicago & The Metropolitan Opera
“Brittany Renee sings a triple role of Destiny, Lonliness, and Greta. Renee gives an ethereal quality to the characters that live in Charles’ mind and briefly in his bed. She appears as a menacing and seductive spectre as Destiny and Lonliness. Renee gives a coquettish charm to Greta who seduces and then breaks Charles’ heart after he reveals his deepest held secret to her." (Third Coast Review)
“Brittany Renee as Evelyn offered an uplifting lightness, a lovely, crystalline soprano that was all youthful excitement, more from her please!" (Parterre Box)
"...masterfully oozed vocal and physical sensuality." (OperaWire)
Micaela | Carmen
Orlando Opera
"Brittany Renee's plush soprano blooms thrillingly on top, especially in her rendition of "Je dis que rien ne m'epouvante," which demonstrates strength rather than fragility." (Opera News)
Countess | Le Nozze di Figaro
Opera Orlando
“nicely captures the Countess’s sadness, poignant among the frivolity and conveyed with regal sorrow by the excellent Brittany Renee.” (Orlando Sentinel)
Madame Herz | Impresario
Knoxville Opera
"...a gorgeous take on her respective holdover Mozart arias." (ArtsKnoxville)
Constanza | Star Trek: Abduction from the Seraglio
Opera Orlando
“...has the spark of Lt. Uhura and fills the role with gusto.” (Orlando Sentinel)
Musetta | La Boheme
Florida Grand Opera
“As the beautiful Musetta, Brittany Renee gave an assured performance that communicated desirability and jealousy without the stock, over-the-top diva gestures that so often accompany this role. In Musetta’s Waltz she caressed an embarrassed waiter and sang in luminous tones about her own gorgeousness." (South Florida Classical Review)
"Brittany Renee steals the stage with her saucy "companion" in the beguiling "Musetta’s Waltz" but who is convincingly altruistic in the final act." (Florida Theater on stage.com)
"The attractive Brittany Renee styles the risque Musetta’s Waltz, with a sexy soprano vibe and rich tonality that remained seductive with going over the top." (Miamiartzine)
MET SummerStage Concert Series
“This was the first time we heard Soprano Brittany Renee and found her to be a formidable artist [...] She rose to the challenge of Violetta's Act I aria from Verdi's La Traviata negotiating the two opposing sides of Violetta's character. In the cabaletta ‘Sempre libera’ we heard some impressive fireworks--just right for a party girl in denial. We don't claim to know anything about jazz but Duke Ellington' "In a Sentimental Mood" sounded just fine to us and illustrated her versatility.” (Voce di Meche)
Zerlina | Don Giovanni
Florida Grand Opera
“Paired with the lush voice of Brittany Renee as Zerlina, the only woman who appears able to match wits with the Don, Brittany was a standout throughout, especially her Batti, batti o bel Masetto, highlighted by her long-held high notes.” (South Florida Classical Review)