BRYAN DESILVA is a singer, actor, and teacher currently living in Boston, MA. He is passionate about the real human stories found in such diverse mediums as opera, musical theatre, plays, 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.
In December 2005 Bryan debuted as the alto soloist in Bach’s Magnificat with the Choral Arts Society of Philadelphia, earning praise from the Philadelphia Inquirer.
In April 2008 he made his debut with the Reading Choral Society and orchestra as the alto soloist in Handel’s Utrecht Jubilate Deo and Haydn’s Lord Nelson Mass for which the Reading Eagle acclaimed Mr. DeSilva'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 his duet with Ms. Baird "particularly memorable", praising his "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.
Highlights for the 2017/2018 season 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.
Bryan is enrolled in the Equity Membership Candidate Program (EMC) through the Actor’s Equity Association. He earned his Doctorate of Musical Arts in Voice Performance and Pedagogy at Temple University. His 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. He currently serves as Assistant Professor of Musical Theatre Voice at the Boston Conservatory at Berklee in Boston, MA.
*Full Academic CV available upon request.