BRYAN DESILVA is a singer/songwriter, actor, and teacher currently living in Boston, MA. They are passionate about the real human stories found in such diverse mediums as opera, musical theatre, plays, rock and roll, cabaret, and classical concert repertoire. Bryan has trained extensively as an operatic countertenor, but is currently performing as a tenor in musical theatre, rock, and classical repertoire. Bryan's songwriting is influenced by everything from Stevie Nicks, Brandi Carlile, Joni Mitchell, and Kate Bush to their family, their dog, the stars, the trees, and the ocean.
In December 2005 Bryan made their classical debut as the alto soloist in Bach’s Magnificat with the Choral Arts Society of Philadelphia, earning praise from the Philadelphia Inquirer.
In April 2008 they sang as the alto soloist with the Reading Choral Society and orchestra in Handel’s Utrecht Jubilate Deo and Haydn’s Lord Nelson Mass for which the Reading Eagle acclaimed Bryan's "warm and honeyed tone."
In the Spring of 2010 Bryan was the alto soloist in J.S. Bach's Mass in G Major in Reading, which also featured renowned soprano Julianne Baird. The Reading Eagle called their duet with Ms. Baird "particularly memorable", praising their "otherworldly voice [which] complemented hers so well."
Bryan's operatic roles include the title role in Handel's Giulio Cesare in Egitto, the Sorceress in Purcell's Dido and Aeneas, Orfeo in Gluck's Orfeo ed Euridice, and the title role in Bizet's Carmen. Musical Theatre roles include Mary Sunshine in Kander and Ebb’s Chicago: The Musical and Jesus in Lloyd Webber and Rice’s Jesus Christ Superstar.
Recent highlights include Handel's Messiah and Bach's Christmas Oratorio with Brown University choirs in Providence, RI, as well as an encore performance of Bryan's Stevie Nicks-themed cabaret, Blame it on My Wild Heart at Philadelphia's L'Etage nightclub and Talking 'Bout a Revolution: Folk and Rock Songs by LGBTQ Artists at the Boston Conservatory at Berklee.
Bryan is enrolled in the Equity Membership Candidate Program (EMC) through the Actor’s Equity Association. They earned their Doctorate of Musical Arts in Voice Performance and Pedagogy at Temple University. Their Doctoral Monograph, titled A Survey of the Current State of Contemporary Commercial Music (CCM) Vocal Pedagogy Training at the Graduate Level, focuses on the need for the inclusion of contemporary and musical theatre techniques in graduate level voice pedagogy programs. They have received additional training at the CCM Vocal Pedagogy Institute at Shenandoah Conservatory. They currently serve as Assistant Professor of Musical Theatre Voice at the Boston Conservatory at Berklee in Boston, MA.
*Bryan identifies as gender nonbinary and uses the pronouns they/them