press | reviews
features
reviews
Bess | Porgy & Bess
Washington National Opera
​
"Brittany Renee is a drop-dead gorgeous performer in voice, body, and soul, and in this her debut with WNO, she pulls off a performance that goes from A to Z and reveals her triple-threat mastery of singing, dance/physicality, and emotional expression." (DC Theatre Arts)​
""Brittany Renee’s vocal arsenal was a golden bloom in the upper register which she used time and again to cut directly to Bess’s emotional core. Bess’s confrontation with Crown on Kittiwah Island was played with a harrowing intensity, while her confession to Porgy that she isn’t decent enough for him was raw and heartbreaking." (Parterre Box)
​​​
“Her dulcet soprano reached up to powerful top notes in the duet “Bess, You Is My Woman Now,” and generated profound sympathy in her blockbuster “I Loves You, Porgy” in Act II.” (Washington Classics Review)
Soloist | Brahms Requiem
The UnSung Collective & The New York Philharmonic
"Soprano, Brittany Renee in the section “Ihr habt nun Trauigkeit,” soared sweetly with the orchestra and chorus, displaying both vocal beauty and balance." (OperaWire)
​
"Brittany Renee, a soprano whose voice seemed to balance on the knife-edge between agony and ecstacy took the stage." (AMNewYork)
Esther | Silent Light
National Sawdust
​
“Brittany Renee as Esther was mesmerizing, with a present, powerful soprano sound. Neither Johan nor the audience could hide from her gaze, which judged, pleaded, lamented, and loved with all the many rich veins of emotion that lie under the foundations of a marriage.” (Observer)
​
“Soprano Brittany Renee takes on the very complex role of Esther in “Silent Light,” oscillating between internalizing her feelings and externalizing her inner voice. She creates a seamless balance that makes this opera multidimensional in different ways than the film. Renee embodies everything, everywhere, all at once, and her voice is a light unto the darkest parts... Renee is a master at discovering herself more and more with every performance she gives – and she gives her all...Renee absolutely blew me away. Her tenderness and emotional intelligence is exactly what makes a person special during a live performance." (OperaWire)​​​
Julie | OMAR
San Francisco Opera
"Julie, gorgeously sung and acted by the charismatic soprano Brittany Renee.” (San Francisco Classical Voice)
"Delivered in bright, arching tones by soprano Brittany Renee in a magnificent company debut, sells the moment.” (Datebook SF Chronicle)
​
​“In her spectacular house and role debut, soprano Brittany Renee provided a much-needed female counterpart to the story as Julie. Gorgeously and effortlessly sang, her Julie was marked with a sense of strength and kindness, and gave the opera some respite from all the heaviness (of the story). (Parterre Box)
Musetta | La Boheme
Opera Theatre of Saint Louis
​
"She’s a flirt, a temptress, a fickle siren, and she’s beautifully sung by the vivacious Britany Renee. She gives us that show-stopper, “Musetta’s Waltz”, from a well-deserved crisp cabaret spotlight pool.” (Broadwayworld)​
​
“Brittany Renee, who mightily impresses in her own OTSL debut as the tempestuous, fiery Musetta...Renee demonstrates a smooth voice with a powerful, pure tone on Musetta’s arias.” (LadueNews)
​​​
“Brittany Renee delivers a Musetta who displays the requisite range of confident liveliness and flamboyance with a touch of naughtiness. But it’s her act of kindness toward Mimi in the fourth act that most humanizes the character. Renee’s compassion adds genuine depth to the role.” (PoplifeSTL)
Musetta | La Boheme
Houston Grand Opera & San Francisco Opera
"Renee delivered parts of Musetta’s “Waltz Song” with flashiness and abandon. But the waltz’s opening had an aria of sweetness, as if Musetta were showing that charisma takes more than one form. And in the finale, Renee’s Musetta took on an entirely different aura, gracious and compassionate with the dying Mimì.” (Texas Classical Review)
"“Making her HGO debut, Brittany Renee played the free-spirited and mercurial Musetta with brash but mesmerizing theatricality and a honey-rich soprano with brilliant high notes.” (Houston Chronicle)
​
​“American soprano Brittany Renee, brings great vivacity to this San Francisco Musetta, “Quando me’n vo” the usual showstopper." (Opera Today)
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.” (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 | Fire Shut Up in my Bones
Lyric Opera of Chicago & The Metropolitan Opera
​
Brittany Renee sings the tripartite role at the Met with a clear, tender tone.” (NY Times)
“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)​
​
"...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)
SummerStage Concert Series | The Metropolitan Opera
“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)
​