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Hailed by The New York Times for “a voice that is rich, secure, and really, really big” and by Opera News for having “a wonderful, rich voice and a fine stage presence,” baritone Brian Mulligan frequently appears with the world’s leading orchestras and opera companies. In the 2015-2016 season, Brian Mulligan returns to San Francisco Opera in the title role in Sondheim’s Sweeney Todd—a role debut—with conductor Patrick Summers, and shortly follows as Enrico in a new production of Lucia di Lammermoor opposite Piotr Beczała, conducted by Nicola Luisotti. Also at San Francisco Opera, he takes a second role debut starring as Roderick Usher in the highly-anticipated double bill of Gordon Getty’s Usher House and Debussy’s La Chute de la Maison Usher, both directed by David Pountney and conducted by Lawrence Foster. In a return to the Metropolitan Opera, Mr. Mulligan appears as Paolo in Simon Boccanegra, with Plácido Domingo in the title role and James Levine conducting, as well as a return to Opernhaus Zürich as Yeletsky in Robert Carsen’s production of

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Hailed by The New York Times for “a voice that is rich, secure, and really, really big” and by Opera News for having “a wonderful, rich voice and a fine stage presence,” baritone Brian Mulligan frequently appears with the world’s leading orchestras and opera companies.

In the 2015-2016 season, Brian Mulligan returns to San Francisco Opera in the title role in Sondheim’s Sweeney Todd—a role debut—with conductor Patrick Summers, and shortly follows as Enrico in a new production of Lucia di Lammermoor opposite Piotr Beczała, conducted by Nicola Luisotti. Also at San Francisco Opera, he takes a second role debut starring as Roderick Usher in the highly-anticipated double bill of Gordon Getty’s Usher House and Debussy’s La Chute de la Maison Usher, both directed by David Pountney and conducted by Lawrence Foster. In a return to the Metropolitan Opera, Mr. Mulligan appears as Paolo in Simon Boccanegra, with Plácido Domingo in the title role and James Levine conducting, as well as a return to Opernhaus Zürich as Yeletsky in Robert Carsen’s production of Pique Dame conducted by Jiří Bělohlávek. At Minnesota Opera, Mr. Mulligan takes on the chillingly insane character of Jack Torrance in the world premiere of The Shining, written by Pulitzer Prize-winning composer Paul Moravec and librettist Mark Campbell, and conducted by Michael Christie. He makes his debut at the Theater an der Wien with Oper Frankfurt on tour, reprising the role of Tadeusz in Weinberg’s The Passenger, and he concludes the season with a company and role debut at the Glimmerglass Festival as the venerable patriarch John Proctor in Robert Ward’s Pulitzer Prize-winning operatic adaptation of Arthur Miller’s The Crucible. Highlights of Mr. Mulligan’s symphonic work include Beethoven’s Missa Solemnis with Donald Runnicles for his debut with the Atlanta Symphony Orchestra, and Brahms’ Ein deutsches Requiem with the Pacific Chorale. 

The 2014-2015 season brought Mr. Mulligan to San Francisco Opera for a role debut as Count Anckarström in Verdi’s Un Ballo in Maschera under the baton of Nicola Luisotti, Marcello in a new production of La Bohème directed by John Caird and conducted by Giuseppe Finzi, and Chorebus in Sir David McVicar’s new production of Berlioz’s Les Troyens conducted by Donald Runnicles. He returned to Oper Frankfurt in a role debut as Amfortas in Parsifal conducted by Bertrand de Billy, and as Tadeusz in a new production of Weinberg’s The Passenger. On the orchestral stage, Mr. Mulligan appeared as the baritone soloist in Orff’s Carmina Burana with the Los Angeles Philharmonic conducted by Gustavo Dudamel, and he returned to the Aspen Music Festival for a role debut as Amonasro in a semi-staged performance of Aida under the baton of Robert Spano.

Operatic highlights of Mr. Mulligan’s career include his debut at the Metropolitan Opera while still a student at The Juilliard School in Die Frau ohne Schatten. Since then he has made many celebrated debuts at the world’s leading opera houses, including San Francisco Opera (Marcello in La Bohème), Opernhaus Zürich (Prince Yeletsky in Pique Dame), Lyric Opera of Chicago (Enrico in Lucia di Lammermoor), Oper Frankfurt (Prospero in Adès' The Tempest), Canadian Opera Company (Enrico in Lucia di Lammermoor), Houston Grand Opera (Marcello in La Bohème), and English National Opera (Sharpless in Madama Butterfly).

Mr. Mulligan has also garnered much critical acclaim for his performances of Richard Nixon in Nixon in China with San Francisco Opera, the title role in Hamlet with Minnesota Opera, Valentin in Faust at the Metropolitan Opera and San Francisco Opera, and Enrico in the David Alden production of Lucia di Lammermoor at Canadian Opera Company, English National Opera, and Washington National Opera.

Other career highlights include his return to San Francisco Opera as Albert in Werther, Ragueneau in Cyrano de Bergerac, Sharpless in Madama Butterfly, and the King’s Herald in Lohengrin; Los Angeles Opera as Prometheus in Walter Braunfels’ Die Vögel, Melot in Tristan und Isolde, and Marcello in La Bohème; the Metropolitan Opera as Fiorello in Il Barbiere di Siviglia and a Kinderstimmen in Die Frau ohne Schatten; Lyric Opera of Chicago as the Father in Hansel and Gretel; Japan’s Saito Kinen Festival as Ford in Falstaff; New York City Opera as Jake Wallace in La Fanciulla del West, Count Almaviva in Le Nozze di Figaro, and Masetto in Don Giovanni; Opera Theatre of St. Louis as the title role in Adams’ The Death of Klinghoffer; Palm Beach Opera as Malatesta in Don Pasquale and Sharpless; Opera Colorado as Zurga in Les Pêcheurs de Perles; San Diego Opera as Valentin in Faust; New Orleans Opera as Lescaut in Manon Lescaut; Central City Opera Tarquinius in Britten’s The Rape of Lucretia; the Spoleto Festival USA as Prometheus in Die Vögel and Capulet in Roméo et Juliette; and Wexford Festival Opera in a double bill of Massenet’s operas La Navarraise and Thérèse.

Mr. Mulligan has appeared with many of the finest orchestras in America, including the Cleveland Orchestra in Orff’s Carmina Burana at the Blossom Music Festival and Vaughan Williams’ A Sea Symphony, the Chicago Symphony Orchestra in the world premiere of James Primosch’s Songs for Adam conducted by Sir Andrew Davis, and the Baltimore Symphony Orchestra in Carmina Burana conducted by Marin Alsop. He joined the Los Angeles Philharmonic in Mahler’s Symphony No. 8 conducted by Gustavo Dudamel, which was recorded by Deutsche Grammophon and released on DVD in 2012. Other orchestral highlights include Handel’s Judas Maccabaeus with James Conlon and members of the Los Angeles Opera Orchestra; concert versions of Der Kaiser von Atlantis with Houston Grand Opera, Los Angeles Philharmonic, and the Ravinia Festival under the baton of James Conlon, where he also performed Mahler’s Das klagende Lied; Mendelssohn’s Paulus and Handel’s Messiah with the Houston Symphony; Mendelssohn’s Elijah and Mahler’s Das Knaben Wunderhorn with the Phoenix Symphony under Michael Christie; Silvio in Pagliacci with the Auckland Philharmonic Orchestra in New Zealand; Titus in Magnard’s rarely performed Bérénice at Carnegie Hall with the American Symphony Orchestra; Brahms’ Ein deutsches Requiem and the West Coast premiere of Lieberson’s The World in Flower with the Los Angeles Master Chorale; and Balstrode in Peter Grimes at the Aspen Music Festival conducted by Robert Spano.

A graduate of The Juilliard School, Mr. Mulligan has been awarded a Richard Tucker Career Grant, a Sara Tucker Study Grant, the George London Prize, for which he appeared in recital with Ken Noda and soprano Lisette Oropesa, and the International Hans Gabor Belvedere Vocal Competition.

Mr. Mulligan holds dual citizenship in the United States and Ireland.

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Reviews

"A third newcomer to the production was baritone Brian Mulligan as Marguerite's unforgiving brother, Valentin. He brought burnished tone and deep feeling to his famous aria, "Avant de quitter ces lieux"; then came close to stealing the entire show with a death scene that was riveting in its raw intensity"

Metropolitan Opera, MusicalAmerica.com

"Baritone Brian Mulligan was a forceful Enrico; singing with dark-hued authority, he played Lucia's manipulative brother as a kind of blunt, iron-fisted CEO. Mulligan has had repeated successes in San Francisco this year -- he sang the role of Chorebe in the company's "The Trojans" this summer, then returned last month to sing the title role in "Sweeney Todd." With this role, he delivered once again."

Mercury News, Georgia Rowe

"Mulligan necessarily adopted a weightier approach to the title role, striding about the stage with terrifying vigor, and fulminating with power and precision. His characterization made room for some of the saturnine charisma that draws in Mrs. Lovett, but primarily this was a growling, gut-churning account."

SF Gate, Joshua Kosman

"As Jack Torrance, Brian Mulligan does the seemingly impossible—he actually makes you forget Jack Nicholson. Possessed of an imposing build and a rugged, perfectly articulated baritone, Mulligan lets us see that Jack is fighting forces beyond his control."

Opera News, Joshua Rosenblum

"Baritone Brian Mulligan … commanded the stage with [an] exceptional account of the wronged barber. Mulligan delivered an arresting performance as Sweeney Todd, dispatching his arias such as ‘The Barber and His Wife’ and ‘My Friends’ as effortlessly as he did his barber chair victims. He was as chilling while going through the motions of slitting throats as he was warmly moving vocally."

San Francisco Examiner, James Ambroff-Tahan

"Brian Mulligan's Nixon was vocally, dramatically, and comically ideal."

San Francisco Examiner

"But the real dramatic power on stage emanated, however, from Brian Mulligan’s Enrico, Lucia’s brother who hates Edgardo, and sets up her eventually disastrous marriage to Arturo who he thinks will solidify the Lammermoor fortunes. Mulligan was ferocious, angry, intense and captivating all night."

The Globe and Mail

"Brian Mulligan is riveting...a fine, strong, open baritone."

The Financial Times of London