Brian Banion’s combination of offensive wit and cloaked insecurity make him one of the finest Base-Baritones of his generation. Hailed by critics as, “...possessing a French which sounds like pinched Italian.”, and by colleagues as, “unprepared”, Banion knows how to please. He was once advised by a director, “what you are doing is so boring that it is like a stinky fart, and I am being forced to smell it. I do not wish to smell it.”. According to eyewitnesses, Banion did not understand.
A specialist in characters without last names, Banion brings his talent regionally, on occasion, to roles such as Leporello in Don Giovanni, Figaro in Le nozze di Figaro, Escamillo in Carmen, and Mustafà in L'Italiana in Algeri. There is more repertoire, but you get the point. Brian goes so long between repetition of roles that his repertoire is always fresh - just like the first time.
Mr. Banion sings oratorio now and then, and would like to do another Verdi Requiem some time soon. He needs a new tuxedo, but ties a wonderful bow tie - white or black. Brian is a strong proponent of modern American classical music, as he wishes more of his repertoire could be in English.
American Musical Theater is a natural vehicle for Brian Banion’s strengths, though he doesn’t dance, and his most frequently used word in dialog is, “line”. Banion hopes that the Blue Steel headshot may drum up some work on this side of the business. Brian's Special Talents include long-term staring and allergic reactions.
About being a recovering trombonist, Banion is quoted as saying, “every day is a struggle”. He was educated at Capital University, where he should have gone to class. Had Brian attended a better school, he might still be a trombonist. He wasn’t awful.
Mr. Banion enjoys conversation, and has a reputation of being “strong” at opening night receptions. Brian has been voted Most Improvable Singer by Classical Singer Magazine for three straight years, and received a mug for “Father of The Year” from 2002-2007, and from 2009-2016.
...phone's ringin', Dude.
"Thankfully, it isn't a large role."
-Joan Jones, The Grint
“As Sparafucile, the assassin for hire, Banion reached new lows.”
-Peter Eater, Classical Voice of North Carolina
“The school children in the matinee audience shuffled in their seats nervously.”
-Tim Less, Classical Voice of North Carolina
“More pregnant pauses than the 27-hour labor of my first child.”
-Barbara Zut, Columbus Dispatch
"Overacting as an art form."
Out There Weekly
"This is a singer meant for straight theater. I mean, wow."
-Pater Jacoby, The Sedated Seat
"The best nap I have had in years."
-Kyle Ketelsen, The Sun Prairie Morning Post
"Loud singing is his forte."
- James Hart, The Bloomington Post
"To call Brian Banion infantile
is an insult to newborns."
The Princeton Review
-Elise DesChamps, Vice
"I haven't witnessed so much improvised text since Enrico Palazzo."
-David Bizic, Scrappy Deux
"It was like being slapped in the face with a giant French fish - again and again.”
-Charles Parsonage, Opera News
“Banion’s Mezza Voce seemed to last for the entire evening.”
-James Halfbritten, The Darque Star
"Banion was born to play this role. Unfortunately, his life expectancy did not outlast the Act One finale."
-Steven LaCoste, Playboy
"Banion brings 'low-brow' to new heights."
-Vaughn Wiester, The Pataskala Review
“Banion colors with a very small box of crayons. The colors he does use are pleasant.”
-Deano Antoniola, St. Louis Lite
The New York Times
"Banion was relentless in his attempts to entertain."
– Diana Burgess, Andante Magazine