Theater an der Wien


Exzellent die Nebenrollen: …Aleš Briscein als Tambourmajor, der hier nicht mit schmucker Uniform, nur mal mit nacktem Oberkörper angeben kann und einfach ein mieses Stück Mensch und Mann ist.

Der Neue Merker,
15th October 2017, Renata Wagner



The National Theatre


Wolfgang Wagner's swansong: Lohengrin in Prague

Bachtrack, 16th June 2017, John Johnson


der zwerg

Oper Graz




in concert

Odyssey Opera Boston


Odyssey Opera presented the American premiere of the work in its uncut version, and it was a historic night for opera in Boston... Odyssey’s cast was excellent. Aleš Briscein was both a naive and heroic Dimitri…

The Boston Globe, 19th September 2016, Jeffrey Gantz

Czech tenor Aleš Briscein brought Dimitrij to vivid vocal life. Known for roles that stretch from Mozart to Wagner, Briscein brought a gleaming, lyrical voice to the character. His upper range was ripe and radiant and his phrasing of key arias in Acts 1 and 2 were smooth and supple, projected an affecting innocence in the role. Dimitrij came across as more a victim of circumstance than villain.

Boston Classical Review, 17th September 2016, Aaron Keebaugh

For the title role, Dimitrij requires a singer of charisma and stamina – there’s lots of high-tessitura writing in each act – not to mention beauty of tone and an easy command of the Czech text. And, in Aleš Briscein, Odyssey had just such a soloist…
Compelling from his entrance in Act 1, Briscein saved his best for the opera’s last two acts, singing with controlled shock and fury during Dimitrij’s argument with his wife, Marina, and supple tenderness in the character’s ill-fated courting of the princess, Xenie. His final confession of Dimitrij’s true origins was steeped in nobility. In all, Briscein’s was a performance that was thoroughly lived in the moment: complex, exhilarating, and deeply sympathetic.

The Arts Fuse, 19th September 2016, Jonathan Blumhofer


věc makropulos
in concert

Royal Albert Hall
Proms, London


All the singers delivering idiomatic Czech were simply perfect… Four tenors, older and younger, reminded us how Janáček's homeland still produces a special type of high voice type. Aleš Briscein as Albert Gregor went for the top notes fearlessly and conveyed all the bewilderment of the non-love scenes with the woman who turns out to be his grandmother (or great-great-great-great-grandmother, as Marty later claims).

David Nice, The Arts Desk, August 20, 2016

Aleš Briscein urgent and clear voiced as the younger litigant Albert Gregor.

David Karlin, Bachtrack, August 20, 2016

Everyone found the composer’s high lying lines and orchestral climaxes difficult to cope with at times... Aleš Briscein’s robust tenor showed promise as the ardent romantic Gregor...

Jim Pritchard, Seen and Heard International, August 20, 2016


věc makropulos
in concert

Royal Albert Hall
Proms, London


All the singers delivering idiomatic Czech were simply perfect… Four tenors, older and younger, reminded us how Janáček's homeland still produces a special type of high voice type. Aleš Briscein as Albert Gregor went for the top notes fearlessly and conveyed all the bewilderment of the non-love scenes with the woman who turns out to be his grandmother (or great-great-great-great-grandmother, as Marty later claims).

David Nice, The Arts Desk, August 20, 2016

Aleš Briscein urgent and clear voiced as the younger litigant Albert Gregor.

David Karlin, Bachtrack, August 20, 2016

Everyone found the composer’s high lying lines and orchestral climaxes difficult to cope with at times... Aleš Briscein’s robust tenor showed promise as the ardent romantic Gregor...

Jim Pritchard, Seen and Heard International, August 20, 2016



in concert

Royal Festival Hall London


Aleš Briscein’s Laca was splendid. There’s something quite glorious about Czech tenors – with their bright, open sound. Briscein has an heroic ring and a lively stage presence.

Mark Pullinger, Bachtrack, April 19, 2016

This sense of characters being transformed in the crucible of tragic events was even more powerfully conveyed by Jaroslav Březina as Števa and his petulantly jealous half-brother Laca, played by Aleš Briscein... Laca on the other hand seemed to grow and grow, so that at the end his decision to marry the disgraced Jenůfa felt plausible – which isn’t always so.

Ivan Hewett, The Telegraph, April 19, 2016

Aleš Briscein made a well-nigh ideal Laca – passionate, grieving, powerfully self-aware.

Tim Ashley, The Guardian, April 19, 2016

She was in good company with the two tenors: Jaroslav Březina, a Števa full of swagger, and Aleš Briscein, an inexhaustibly fervent Laca.

Hannah Nepil, The Financial Times, April 19, 2016


roméo et juliette

The National Theatre


Aleš Briscein was even more perfect in these "soul movements". His Romeo was not sentimental, however, in the emotional falls and rises the tenor was reaching masterful virtuosity which was every time and in a distinct way strong and precise, and not manneristical.

Petr Fischer, Hospodářské noviny, April 26, 2016

The role of Romeo obviously fits to Aleš Briscein, his bright tenor is suitable for the French music and he even got over the hardest parts in the arias with honour. I was deeply touched in one moment -Romeo´s silent goodbye after the balcony scene with Julia (Va ! repose en paix !), when Briscein remains alone on the dusky stage, he sings lonely, resignedly and very profoundly, and together with the orchestra they created an amazing nostalgic atmosphere.

Svatava Barančičová, Opera Plus, April 24, 2016



Komische Oper Berlin


Während nun Aleš Briscein als Lenski – mit athletischer Jungbauernfigur – seiner Olga mit wohl klingendem Tenor poetisch seine Liebe von Kindheit an gesteht und dafür sofort Applaus erhält, bringt der zum Fest mitgebrachte Onegin bekanntlich bald alles aus dem friedlichen Lot.
Aleš Briscein sowie Asmik Grigorian und Günter Papendell… ernten verdiente Bravos.

Ursula Wiegand, Der Neue Merker, February 1, 2016

Aleš Briscein bringt Schmelz und Emphase für die Partie des Lenksi mit.

Julia Spinola, Deutschlandfunk, February 2, 2016

Aleš Briscein ist der wunderbar tenorstrahlende Poet Lenski.

Peter Krause, Concerti, February 1, 2016

Impulsive Lenski is far from the figure of a dreamy poet. Briscein is singing him lyrically persuasively, with sure heights and beautiful tone, but at the same time he is playing a classic of aggressive jealous guy.

Radmila Hrdinova, Pravo, February 1, 2016


the kiss

The National Theatre


Aleš Briscein as Lukáš sanctified his part in a romantic aspect,  which especially in the forest scene in the aria, and then also in the  duet with Tomeš escalated to the unique inner urgency and  impressive drama. His lyricism in the scenes with Vendulka was always emphasized by the erotic desire that he managed to increase from the very beginning till the end. The two main performers playing made an impression with the very captivating Smetana´s cantilena. 

Rudolf Rouček, Harmonie, December 8, 2015

Aleš Briscein is deservedly the most popular Czech lovestruck, his masterful lyrical tenor is close to operetta lightness, but he still keeps his proper distance from it.

Jan Špaček, www.mestohudby, December 6, 2015


The National Theatre


Aleš Briscein he sang the part of the proconsul Pollion masterfully, with a confident, beautiful tone...

Radmila Hrdinová, Právo, October 3, 2015


Oper Graz

live recording


Zutiefst anrührend ist das Charakterporträt von Aleš Briscein als Laca. Sein Tenor besitzt strahlendes Metall und im Vortrag jene unprätentiöse Verbindlichkeit, die seinem Laca große Sympathie abringt. Sein liebevolles, unerschütterliches ‚Jenufa!‘ im finalen Duett geht unter die Haut.

Benjamin Künzel, Klassik, July 26, 2015

Aleš Briscein, qu’on a beaucoup entendu à l’Opéra de Paris, notamment dans les œuvres de Janáček, est au contraire un Laca sensible, à la voix légère mais fort agréable.

Laurent Bury, Forum Opera, uly 26, 2015



Royal Festival Hall


Aleš Briscein sounded as if he might crack under the strain of his own ecstasy — but never enough to compromise the impact of this brilliant, life-enhancing, wildly original piece.

Hannah Nepil, Financial Times, April 27, 2015


Teatro Comunale
di Bologna


Aleš Biscein vocally and theatrically expressed Števa's cowardice
and arrogance, and his nice mezza voce emphasized Števa's weak

Alessandro Cammarano, OperaClick.com, April 18, 2015

The Makropulos

The National Theatre


Aleš Briscein's voice has the ability to express the lyrical excitement
that is necessary for the role of Albert Gregor, and it also has
a beautiful tone colour and elegant expression. In this wonderful cast
he has probably become the big winner - after Sjöberg, of course.

Santiago Martín Bermúdez, ConcertoNet.com, December 3, 2014




The National Theatre


Aleš Briscein made a brilliant performance in the role of Jaroměr. 
His singing was excellent, technically without a problem, a luminous
voiced tenor, which had both great impersonating, and perfect type

Olga Janáčková, Opera Plus, October 13, 2014



The Excursion
 of Mr. Brouček

Oper Frankfurt


The soloists also showed uniquely sophisticated characters
in individual expression, using fully the principle of triple roles...
One of them was Aleš Briscein, who caught the eye especially
with his personal charm. He applied it as an internally strained painter
Mazal in the lyrical part of a young boy in love, as well as the crazy
Měsíčňan Blankytný, whose typical words are "I´m floundering in
a storm of frenzy", or Petřík fighting for the idea of a military attack.
Aleš Briscein surprised by his sovereignty in singing the demanding
high notes. His high C and even high D were absolutely fascinating.

Libor Rouček, Harmonie 8, 2014




Kališová knows how to act the highly detailed relationships and
situations, especially with such able singers who gathered here.
Aleš Briscein was probably born for the role of Jeník. His voice has
a beautiful tone colour in the prevailing position of the part. He has
a facility for even the very top notes, and his boyish physiognomy
adds believability to this character.

Josef Herman, Divadelní noviny, July 3, 2014



Oper Graz


Aleš Briscein, as masculine but very sensitive Laca, is the only (!)
Czech native speaker of this production…, and that´s why he´s
praised with a thunderous applaus for his stylish sovereign portrayal
of the Moravian peasant character.

Harald Haslmayr, Die Presse, March 30, 2014

Aleš Briscein captivates us with his completely beautiful lyric tenor
as intense, and high tones confident Laca, who is portrayed very
aggressive from the beginning.

Helmut C. Mayer, Kurier, March 30, 2014

Aleš Briscein, the only Czech man in the ensemble, delighted us
with his extraordinary beautiful lyric tenor.

Helmut Christian Mayer, Der Neue Merker, March 29, 2014



Tiroler Festspiele Erl


Only superlatives belong to the starring interpret. Aleš Briscein singing
by now mostly in Prague and in Opera Bastille in Paris owns one of
the most beautiful, most brilliant and most noble tenors. Solid and still
pliable and bright as a sunbeam. Listening one feels fulfilled with
amazement and happiness…
Briscein has both stability and yet shrillness of voice neccessary
for this part, at the same time  never loosing its velvet, golden softness
His Lohengrin fascinates even more than that of Klaus Florian Vogt
in Bayereuth: star hour. Pleasing ovations.

Stefan Ender, Der Standard, July 9, 2012

The better the singers could show themselves. What really mattered
were ability of acting and understanding the part by every individual,
what he or she was able to do with his role. And here we came across
a pleasing surprise in the personality of a young and fitting perfectly
for his part Aleš Briscein as Lohengrin. Perfectly performing, however
slim, lyrical, but melodic tenor in italian colour, absolutely sure
in intonation and heights accompanied by  inteligent facial expresions
and artistic performance is present on the stage in a costume
embroidered with gold.

Klaus Billand, Der Neue Merker, July 8, 2012

Sensation means the young tenor Aleš Briscein presenting Lohengrin
with lightness and yet heroically, without a sign of tiredness, most
of the time singing about the Holy Grail on his knees.

Peter P. Pachl, Neue Musikzeiten, July 8, 2012


Káťa Kabanová

Opéra national de Paris


Kudryas of Aleš Briscein is an evidence of a beautiful scenic
and vocal lightness.

Simon Corley, ConcertoNet.com, March 9, 2011


KATYA KabanovA

The National Theatre


Aleš Briscein is at present Boris an ideal part, he can take use of the
sonance and cantilene of his lyrical tenor without any overstrain.

Helena Havlíková, Lidové noviny, June 28, 2010


L'elisir d'amore

The National Theatre


The star of the premiere was the tenor Aleš Briscein in the part
of Nemorino….
For Aleš Briscein is Nemorino an ideal part where he coulů show
the quality of his lyrical, in all levels delicate tenor. The famous aria
Una furtiva lagrima he sang beautifully and he deserved great ovation
of the audience. But Briscein managed Nemorino also as an actor –
instead of a traditional silly he acted a shy, a bit clumsy comical, but
in love a true young man who gains sympathy from the very beginning.

Radmila Hrdinová, Právo, December 17, 2010



Volksoper Wien


Aleš Briscein as a young prince made a good impression and he sang
in a sonorous, slightly heroic, catching tenor.

Oper in Wien, October 26, 2010

The top standard was also kept by the Czech tenor Aleš Briscein,
who performed like it should be in a fairy-tale and difficult parts he sang
with certain hights and feeling for music.

Michael Wruss, Oberösterreichische Nachrichten, October 26, 2010

Strauss, J.
Die Fledermaus

As related to the roles, first of all let´s name both main characters...
Aleš Briscein has already sung in inernational opera houses.
It is understandable regarding the quality of his voice, also he is
perorming well the Casanova-like cocky
Eisenstein on the scene.

Martin Robert Botz, Der Neue Merker, January 4, 2010



Mexico City


Goldhaired Števa Buryja (Aleš Briscein) gave an unusually fresh
impression, being both sure and direct;"Daleko široko do těch Nových
Zámků..." or "Už pro tvoje jablůčkový líce, Jenůfo - ty jsi věru ze všech
nejpěknější, ze všech nejkrásnější!" in his unique and Slavic authentic,
fresh presentation deeply impre
ssed the audience.

Irena Chytrá, Harmonie 7, 2008

Traditional representative of Steva is Ales Briscein, excellent not only
in singing but also thanks to his youthful look and natural dramatic
expression as well as in creating this character. It was namely
in „drinking scene“ with recruits where interprets usually over-act.

Pavel Horník, Hudební rozhledy 6, 2008


Don Giovanni

Aleš Briscein gave a precise true picture of Don Ottavio as a romantic
and unpractical dreamer.

Josef Herman, Hudební rozhledy 10, 2007

Aleš Briscein owns an adequate light tenor and technique legato
for Don Ottavio.

Helena Havlíková, Harmonie 12, 2003



Aleš Briscein with his firm and bright tenor is currently – without any
doubts – our best Jeník.

Věra Drápelová, MF DNES, March 30, 2006

Brilliantly sung Jeník by Aleš Briscein dominates among solo casts.
His dramatic performance can bear very severe criteria for acting.

Radmila Hrdinová, Právo, April 3, 2006

…to follow the shades of precisely built motions, co-acting and fine
mimicry was one of the main pleasures of the premiere. Namely
in case of Aleš Briscein as a boyish Jeník, who did not have a single
peaceful moment from Havelka chasing him into sharp gags, dance,
fights, let him crawl through a window and be thrown out of a pub.
Ivo Žídek and Beno Blachut got at last a decent successor in individual
dramatic performance and self confident management of the part.

Josef Herman, Divadelní noviny 9, 2006



Aleš Briscein is a wonderful type for a credulous dreamy youngster
Candide; he showed sense for music, when he adapted his brilliant
tenor of Jeník and Števa of the „big“ opera, especially in phrasing and
expression, to the style of a musical.

Helena Havlíková, Lidové noviny, May 29, 2006

The demands on the performers need experienced singers with
technically well-set voices who are able to emphatize in Bernstein´s
music without the common opera stiffness. Such demands are
perfectly met by the main star Aleš Briscein. His well-set tenor
manages all traps of the part, from a fragile and lyric pianissimo to
the full voice, and at the same time he feels the lyrical cantilena of
Bernstein´s music.

Radmila Hrdinová, Právo, June 7, 2006


DIary of One
Who Disappeared

Wiener Festwochen


For us Czechs the concert was interesting namely for the fact that
the leading tenor part was sung by Aleš Briscein who at the same time
had his debut at Wiener Festwochen. And it is neccessary to say that
he managed very well the difficult task. He pronounced with care and
regarding to meaning, his lyrical voice was firm, sound and ballanced,
with vividness, brightness and energy. Final high C was sung quite
freely and naturally. No doubt that Briscein is  currently our most
talented tenor.

Věra Drápelová, Harmonie 7, 2007


the Ploughman

Author could not wish any better cast of soloists - Aleš Briscein sang
a difficult part with understandable strength and effort for a dramatic

Josef Herman, Hudební rozhledy 3, 2003

Aleš Briscein and Jana Sýkorová discharged well their great tasks;
success of the evening was fully dependent on their interpretation…
Also Aleš Briscein drew attention with his voice disposition and warm
interest in attacking questions and accusation. Both Briscein and
Sýkorová succeeded in filling the wide space left only to them.

Eva Vítová, Harmonie 3, 2003


Eugene Onegin

Lyrical tenor Aleš Briscein performed one of his best parts up-to-now
as the poet Lenski. The way how he created the part was the closest
to the vision we have about the character. Beautiful, glamorous and
bearing voice, realized with animated enjoyment and impressing
dramatic creativity so that one could not resist his performing the part.

Miroslav Pospíšil, Harmonie 3, 2002

Lenski was sung and acted brilliantly by Aleš Briscein, he had built up
the great aria before the duel in a non-sentimental, heart-felt, psycho-
logical scene; he managed  the part masterly and proved to be on the
way to the highest goals in singing.

Josef Herman, Divadelní noviny 13, 2002

In the part of Lenski he showed, I think, that he sang up to be the best
contemporary Czech lyrical tenor. Pleasant, straight voice, natural
acting, the figure built up to the last tone.

Lenka Šaldová, Rozhlas 35, 2002