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"Ralph Vaughan Williams' "A Sea Symphony," his Symphony No. 1, is a mighty undertaking: It calls for two soloists, a big orchestra and massive chorus.
Baritone Brett Polegato is an elegant singer, with a gorgeous voice, superb diction and a clear understanding of the texts."
Sarah Bryan Miller, St. Louis Post-Dispatch, May 9, 2010
"Even if this production is not to every-one's taste, the singing will be. Calgary Opera has assembled a cast that represents the cream of contemporary Canadian opera singers. Everyone is excellently cast in his/ her role and sings with complete vocal command.
Brett Polegato [as Don Giovanni] confirmed his position as one of Canada's leading baritones, most especially in anything relating to musical intelligence."
Kenneth Delong, Calgary Herald, April 27, 2010
"Brett Polegato played Sharpless as a man for whom diplomacy is both a profession and a curse. This fine baritone's understated expression of his qualms about Pinkerton's marriage was so carefully paced that his belated show of impatience with the big lug felt like a deliverance."
Robert Everett-Green, The Globe & Mail, September 30, 2009
"There is also superb work from baritone Brett Polegato as the American consul Sharpless, who lends not only a powerful voice but a strong sense of humanity and compassion as well to the role of a good man caught in the middle of a mess he didn't create."
John Coulbourn, The Toronto Sun, October 1, 2009
"There’s more sympathy and a strong presence in Brett Polegato’s Sharpless, the American consul who warns Pinkerton not to toy with his young bride’s affections."
Jom Kaplan, NOW Magazine, October 2, 2009
"Winterreise is a compilation of 24 poems by Wilhelm Müller which, to use a pop-psych metaphor, amount to going through all seven stages of grief in 80 minutes. The singer has to shape difficult music, shuffle emotions and convey a clean dramatic arc all at the same time, making this a touchstone of the serious artist.
Polegato, with [Stephen] Rall's elegant help, more than met the challenge."
John Terrauds, The Toronto Star, March 26, 2009
"Baritone Brett Polegato was in fabulous voice and plumbed the full operatic possibilities in his dramatic arias [in Handel's Messiah]."
John Terrauds, The Toronto Star, December 18, 2008
"Polegato was a different story... [H]is interpretations had far more natural vitality and power. Wolf's "Gesange des Harfners" was a fine essay in the dark shadows of the human heart, and Robert Schumann's eight-song "Liederkreis Op. 24," although not quite as involving, showed that Polegato is an artist to be reckoned with."
Stephen Brookes, Washington Post, December 4, 2008
"The Onegin in particular was magnificently sung and acted by Brett Polegato, a baritone of star quality by any international standard."
Bernard Jacobson, Opera, March 2009
"Vocally, baritone Brett Polegato was a fabulous Onegin, incapable of a musical false step. Everything we need to know about Onegin was there to be heard: the elegance, the anger, the seductive power and callousness."
Elissa Poole, The Globe & Mail, November 24, 2008
"The emotionally real performances also make this production feel modern. Baritone Brett Polegato’s Onegin is the consummate cool customer, dashing and remote, a man who refuses to kiss the ladies’ hands and spurns the young Tatyana for professing her love so openly to him. It’s a testament to Polegato’s range that when he finally meets Tatyana again, he’s a mess-burying his face in her lap and crying out in agony when she accuses him of desiring her because she’s joined high society. He’s a cad and a misfit, but you can’t help feeling for him in the end."
Janet Smith, Georgia Straight, November 24, 2008
"Baritone Brett Polegato surpassed all expectations in the title role. Here was a Don Giovanni who was unquestionably the star of this Mozartean operatic domain. Slim and elegant in stylish black leather, Polegato both sang and acted his role to a fare-thee-well, projecting the Don as an indefatigable and ruthless predator, and at the same time as a man of fatal charm to his serial feminine victims.
His singing lay at the very centre of his characterization, so perfectly did it convey the dramatic sense of his actions, from the effervescent, hormonally driven call for wine, Finch' han dal vino, to the delicate, honeyed canzonetta Deh, vieni alla finestra, by which he entices Donna Elvira's pretty serving maid to the balcony window, to the innumerable adroitly inflected recitatives in which he insinuates himself into the affections of one woman after another, or cuts off her means of escape by cleverly banishing her protectors
He was superb."
Ken Winters, The Globe & Mail, October 7, 2008
"Funnily enough, Polegato's performance was this production's best asset. He transcended these directorial attempts to annul his character. Polegato's acting was breathtaking as an imploding antihero, slipping into a boozy delirium, maudlin and reflective one moment, sinister and threatening the next. It was as if the Don's corrupted masculinity was poisoning him, which worked with the overall direction because his exaggerated manhood, which is the crux of the actual story's conflict, had been dismantled with nothing else to fill the vacuum.
Vocally, Polegato had the most volume among the cast, the most fluid and confident delivery. His steadily rising intensity throughout the show seemed to lift everything up."
John Keillor, National Post, October 7, 2008
"Brett Polegato casts aside the familiar portrayal of the character as a loveable rake. His Giovanni is moody, sullen and prone to violence. He shows that Giovanni’s life of constant conquest is also a life of constant repetition that has lost its excitement. Nothing goes right for Giovanni now, as the libretto notes, and [director Robin] Guarino views his actions as self-destructive. Polegato’s good looks, his burnished baritone and his ability to communicate complex states of mind make him ideal in this role."
Christopher Hoile, Eye Weekly, October 6, 2008
"Brett Polegato made an intelligently thought-out, deliberately dislikeable Don, low on charm, high on aggressiveness and handsomely sung."
William Littler, Opera Canada, December/January, 2008/2009
"Toronto-based baritone Brett Polegato spends nearly the whole 2 1/2 hours onstage in the title role in this production, which begins at the very end so that the opera can be presented in flashback. Miraculously, the singer manages to keep Onegin fresh, despite the character being presented as a perpetually tortured Romantic soul, right down to trying to tug out his long, wavy locks.
This is the first time Polegato has sung the role of Onegin, yet he fully inhabits the character and made beautiful work of Tchaikovsky's long, long melodic lines. This is a spectacular piece of work from a terrifically accomplished singer."
John Terauds , The Toronto Star, April 3, 2008
"Polegato looks and sounds every inch the doomed romantic hero, and his transformation from world-weary snob to impassioned lover is believable and moving."
Glenn Sumi, NOW Magazine, April 10, 2008
"Wadsworth and Wedow had a fine cast of principals, who delivered passionate performances of the utmost commitment.
Brett Polegato was equally successful in projecting the furious guilt that tears Oreste apart mentally. His voice is big and brilliant, but he handles it with great finesse. In the aria ‘Le calme rentre dans mon Coeur,’ he managed to suggest a man whistling in the dark. The vocal chiaroscuro displayed in scenes with his sister and his beloved friend Pylade was always under intelligent control."
John F. Hulcoop, OPERA NEWS, January, 2008
"Baritone Polegato captured precisely the mood of everything he sang, whether Ivor Gurney's adroit setting of The Scribe, or Howells's magisterial one of King David, or Robin Holloway's exacting one of Fare Well. He also sang the three miniature songs from the U.S. composer Theodore Chanler's Eight Epitaphs to perfection"
Ken Winters, The Globe & Mail, January 15, 2008
"The "Songs of A Wayfarer" also explore Mahler's emotional state, this time, however, as seen through the eyes of a jilted lover. Brett Polegato is this weekend's soloist. The Canadian baritone gave a wonderfully heartrending and impassioned interpretation of the four songs. His lyrical, seamless singing captured the eloquence, passion, remorse and, finally, the resignation of Mahler's state of being."
Edward Reichel, Deseret Morning News (Salt Lake City),
November 3, 2007
"Full of glorious and moving music, "Iphigenia" still is not an easy opera to bring to life... Fortunately, this production has a charmed cast of brilliant singing actors... Her brother Orestes is sung by Brett Polegato, in a performance so beautifully drawn that it's hard to imagine it being bettered anywhere."
Melinda Bargreen, Seattle Times, October 14, 2007
"Brett Polegato's Orestes has already ruined two night's sleep and I suspect that my recollection of it will chase Somnus for many more nights to come. Forget about the fact that he had all the notes and that his phrasing was simply exquisite; his portrayal of a man made mad by the cruelty of the Gods was nothing less than searing."
Ivan Katz, Huffington Post, October 24, 2007
"Brett Polegato, as the frenzied Orestes, tortured by the Furies who pursue him for the killing of his mother, sang the larger-than-life character in a larger-than-life way. He was persuasive in a part easy to caricature."
R.M. Campbell, Seattle Post-Intelligencer,
October 14, 2007
"The music and story are pure melodrama and require strong voices as well as tremendous energy from the soloists. In this largely Canadian cast, only baritone Brett Polegato achieved that mix of vocal power and passion in the role of Valentin, Marguerite's brother."
John Terauds, Toronto Star, February 2, 2007
"Along with Pomeroy's fine Faust, Ontario baritone Brett Polegato's Valentin offered the production's best singing. He conveyed Valentin's implacable, prudish intolerance of his sister Marguérite's fall from grace with crushing authority."
Ken Winters, The Globe & Mail, February 3, 2007
"Yet, Brett Polegato outshines them all as Marguerite's avenging brother Valentin. The rich, heroic sound of his voice and the passion of his acting are absolutely riveting."
Eye Weekly, February 8, 2007
"... [The director’s] take on the opera was tremendously benefited by the presence of Brett Polegato as Dandini, clearly the most remarkable of the many fine individual performances in this production. I think it would be hard to find a better realization of Dandini anywhere, whether in Polegato's elegant singing, secure on both the top and bottom part of the voice, or in the dramatic characterization, which was one of the most brilliant I have seen at the Jubilee [Auditorium]."
Kenneth DeLong, Calgary Herald, November 20, 2006
"...baritone Brett Polegato nearly stole the show with a strong and characterful performance of Figaro's cocky Largo al factotum, from Rossini's Barber of Seville."
Robert Everett-Green, The Globe & Mail, Thursday, June 15, 2006
"The other protagonists all prove to be excellent singers, with a special mention to baritone Brett Polegato (Fritz) whose Puccini-esque aria is a moment of pure joy."
Jacques Schmitt, Res Musica, April 16, 2006
(Die Tote Stadt, Geneva)
"As Don Giovanni, baritone Brett Polegato cannot help but charm musically, for his is a serious and seductive voice."
Elissa Poole, The Globe & Mail, March 7, 2006
"Baritone Brett Polegato, vampire-like in a black plait and pale makeup, stresses the dark side of Don Giovanni, trading machismo for rat cunning. Polegato's voice is this Don's key to seduction: no self-respecting romantic could resist his technique, his passion, his chameleon ability to echo the quarry's own musical style."
Louise Phillips, The Vancouver Courier, March 8, 2006
"Guglielmo, on the other hand, finds in Brett Polegato an interpreter who does him justice. His voice – sonorous, sweet, full of colour, and perfectly placed – moves easily throughout the entire range of the role. Next to Ferrando, he appears like the rooster ... and plays the game of the masquerade with off-handed confidence until, his phoenix having become a crow, he confesses to being totally in love and, overcoming his useless rage, is ready to admit the bitter truth."
Maurice Salles, Forum Opéra, January 31, 2006
"The Guglielmo of Brett Polegato is cut from the same cloth: happily smug and conquering, he embodies with great scenic ease this naïve self-confident youth who thinks himself a free agent. And his solid vocalism squashes the weaknesses of his comrade."
Laurant Marty, Res Musica, January 27, 2006
"Baritone Brett Polegato expresses himself with sincerity and, above all, dominates his arias."
Anne-Marie Chouchan, La Dépêche du Midi, January 24, 2006
"Baritone Brett Polegato creates an impressive Guglielmo."
N.T., La Tribune, January 27, 2006
"Baritone Brett Polegato (Guglielmo) and bass Carlos Chausson (Don Alfonso) are perfectly in osmosis with their roles, both vocally and scenically."
Janine Boyé, La Gazette du Midi, January 30, 2006
"Even the Cleveland Orchestra probably would concur that the choristers, as well as director of choruses Robert Porco and two exceptional guest soloists, are the stars of this week's subscription program.
In his Cleveland Orchestra debut, Brett Polegato brought smooth nobility to the baritone solos [of the Fauré Requiem].
In Vaughan Williams' ecstatic "Five Mystical Songs," it was Polegato's turn to show his expressive stuff. The score abounds in lyrical and dramatic statements, many influenced by British folk traditions, and Polegato applied his suave baritone vibrantly to the songs' emotional needs."
Donald Rosenberg, The Plain Dealer (Cleveland),
Saturday, November 19, 2005
"Last night, Polegato sang with great, touching simplicity 'For my enemy is dead, a man divine as myself is dead.' "
John Terauds, Toronto Star, Thursday, November 10, 2005
"Both soloists were excellent...Polegato was steady and dignified in each of his solos: Reconciliation, to Whitman's words ("My enemy ... a man divine as myself is dead"); The Angel of Death, from a speech of John Bright; and especially in the final section, O man greatly beloved, to words adapted from the Old Testament."
Ken Winters, The Globe & Mail, Saturday, November 12, 2005
"Brett Polegato brings a valiant poignancy to the part of Sarah's cuckolded husband"
- Seattle Opera's production of 'The End of the Affair'
Joshua Kosman, San Francisco Chronicle, Thursday, October 20, 2005
"Polegato's sterling voice was pure delight, supple with dark colours and now firm bass ballast as well. His arias luxuriated in their resonance."
Geoff Chapman, The Globe & Mail, December 17, 2004
"However, kudos are due the vocal soloists at either end of the register - soprano Patricia Rozario and baritone Brett Polegato - who overcame the often muddy acoustics with their powerful voices. Polegato, in particular, was awe-inspiring and a delight to the ears from his first "Thus saith the Lord of Hosts" to his final rapid ascent up the scale on "The trumpet shall sound."
Rob Hubbard, St. Paul Pioneer Press, December 09, 2004
"Wall and Polegato made impressive advocates for Massenet. Two of the most important vocal talents produced in this country in recent years (although neither, sad to say, appears much in Toronto), they had all their music memorized, which freed them to concentrate on its dramatic as well as its musical projection.
As for Polegato, it would be hard to imagine a firmer-voiced, more impressive Athanaël. Lucky Massenet."
William Littler, The Globe & Mail, December 02, 2004
" Canadian Brett Polegato shows great musical and dramatic ability as Frère Léon. He has the difficult task of being the first & the last soloist to sing, and he is totally convincing as this fragile figure of a young brother both fascinated and frightened by what he sees and lives. He had already offered a strong and attractive Pelléas at the Paris Opera, and showed once more he belongs to the leading group of today's young baritones."
Gérard Mannoni, Opera Canada Magazine, Winter, 2004
" But the real pearl in Monday night's production ... was baritone Brett Polegato, singing the role of Zurga ... He went against the grain with his sympathetic interpretation of Zurga, an authority figure with a mean streak on paper, but love interest manqué here. Certainly, Polegato has authority: The voice rings with it, commands it. But we can't help warming to him either, to the eloquent diction, subtle indications of character, and, hard to explain, a quality of realness that says: 'This matters.' So it does."
Elissa Poole, The Globe & Mail, August 04, 2004
"If Jane Austen's Elizabeth Bennet had been sitting in the Glenn Gould Studio last night, her Fitzwilliam Darcy would have been Brett Polegato, the dashing baritone in white tie and tails on stage.
He showed all the poise, patience, wisdom and inner strength of the hero in Pride And Prejudice and showed himself the match for any other vocal suitor that has graced Toronto's stages this season.
The buzz around Polegato started as soon as the city first heard his voice about a decade ago and, now, the globetrotting 30-something came back to show that he has matured into one of the finest baritones around.
Even though his repertoire includes symphonic and operatic work, Polegato was here for an art song program organized by the Aldeburgh Connection. In a varied program of intricate and dramatically varied music, the singer displayed a versatile voice which is rare in its ability to produce the deep, rich walnut timbre of the bass-baritone, while also carrying a lilting, lyrical grace in the upper registers."
John Terauds, The Globe & Mail, May 13, 2004
" Brett Polegato ... [has] been garnering considerable attention with various recordings and appearances (including Mr. Polegato's New York recital debut at Weill Hall last season). And [he] showed that [he] deserve[s] the attention. Mr. Polegato ... sang with considerable intelligence and nuance, and brought an ideal blend of dignity and good looks to the role [of the Count]."
Anne Midgette, The New York Times, March 16, 2004
"While it's an ensemble effort, with a medley of voices well tuned to the lyrical bel canto style, the show owes its dash and panache to baritone Brett Polegato, soprano Tracy Dahl and conductor Leslie Uyeda.
What a team. Polegato homed in on the comedy with the aplomb of a voracious varmint tunnelling through a carrot patch. Polegato's strength and subtlety in his legato phrasing and beautiful tone confirm him as a mature artist."
Louise Phillips, The Vancouver Courier, November 26, 2003
" Brett Polegato's warm, smooth baritone and unfailingly communicative phrasing proved ideal for this music [Zemlinsky's Lyric Symphony]. This artist should be back soon; how about for Mahler?"
Tim Smith, The Baltimore Sun, March 22, 2003
" Polegato strikes a winning balance of dignified artistry and engaging directness."
Joshua Rosenblum, Opera News, January 2003
"Brett Polegato's singing is warm, richly textured, and expressive - substantially more engaging than John Carol on the EMI [recording]."
Andrew Quint, FANFARE Magazine, Nov / Dec, 2002
"The discovery of the evening was certainly Brett Polegato's sensitive and well-shaped baritone as Pelleas."
Jens M.Fischer, Süddeutsche Zeitung, March 2002
"Brett Polegato performed the role of Pelleas with poetical brightness and transparency."
Julia Waldstein, TZ München, March 2002
"Baritone Brett Polegato, full of fire, integrity and diction that lit up everything he touched, recitatives no less than arias. Depth, sparkle and power -Polegato's voice has it all. And when he sings the words 'we shall be changed,' you can believe it."
Elissa Poole, The Globe & Mail, December 14, 1998
"To Polegato, who was making his shockingly belated Canadian Opera debut, fell the honor of opening the program. It was the kind of crisp, confident, bravura performance that said, in effect, here I am at the peak of my vocal powers and a better barber you won't find this side of the Andelusian Peninsula."
William Littler, The Toronto Star, August 26, 1998
"Polegato sang Kilpinen's Songs of Death with understanding and elegance. He has a bright, well-placed voice and excellent diction - when he became genuinely involved in the music, these qualities allowed him to communicate with exceptional force."
John Lehr, The Toronto Star, February 13, 1998
"It is easy to see why opera companies want him. The more sound Polegato has behind him, the more he blossoms. He has firm, bright, evangelical fortes, a milk-and-honey middle range of extraordinary warmth, and an impressive range of emotional colour."
Elissa Poole, The Globe & Mail, February 14, 1998
"Brett Polegato, who has appeared with the New York City Opera and other companies, seems poised for a successful career. He has a burnished, well-focused baritone voice."
Anthony Tommasini, The New York Times,
November 15, 1995
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