© 2018 RYAN BELONGIE. ALL RIGHTS RESERVED.

"Vocally and physically he was that swan. The impact was chilling and even heartbreaking. It was the best interpretation of that piece I've seen, bar none."

 

 KDHX  St. Louis

“There was plenty to delight the eye and ear, nothing more so from the musical side than a sublimely murmurous love duet for the princess Andromaca and her husband, Pyrrhus, she thought she had lost at sea. Mezzo Kindra Scharich, who sang sweetly and tenderly throughout, paired gorgeously with countertenor Ryan Belongie, their vocal lines seductively imitative, offset and intertwined.”

– Steve Winn, SAN FRANCISCO CLASSICAL VOICE,

ARS MINERVA – LA CIRCE,  2017

“Countertenor Ryan Belongie was a suavely handsome Lysander…Vocally, his was a mellifluous performance…His lean, sinewy voice flowed through Purcell’s melodic lines like pure honey, and he negotiated divisions with surety. He radiated boyish sex appeal but was also the most maturely expressive of the principals: gaining cognizance of his brief liaison with Helena, his face conveyed heartbreak and regret as earnestly as his singing.”

– Joseph A. Newsome, VOIX DES ARTS

CHICAGO OPERA THEATER – THE FAIRY QUEEN,  2016

“His unusual countertenor has a masculine, chesty quality reminiscent of a haute-contre tenor, with pure tone that is uncontrolled at the top but rich in his tessitura. “Voi che udite il mio lamento” (You who hear my lament) could have been written for Belongie; his rendition had me closing my eyes and hoping the aria would never end.”

– Ilana Walder-Biesanz, SAN FRANCISCO CLASSICAL VOICE,

WEST EDGE OPERA – AGRIPPINA,  2016

“Masur was aided in no small measure by the orchestra’s best efforts…and a communicative solo trio of baritone Tyler Duncan, (counter)tenor Ryan Belongie and soprano Celena Shafer.”

– James Chute, SAN DIEGO UNION-TRIBUNE,

SAN DIEGO SYMPHONY – CARMINA BURANA,  2015

“Countertenor Ryan Belongie made the most of his portrayal of a swan that is roasted and about to be eaten in “Olim lacus colueram” (Once I dwelt in the lakes), confetti feathers flying as he left the stage.”

– Micahel Huebner, ARTSBHAM,

ALABAMA SYMPHONY – CARMINA BURANA,  2015

"Vocally and physically he was that swan. The impact was chilling and even heartbreaking. It was the best interpretation of that piece I've seen, bar none."

– Chuck Lavazzi, KDHX ST. LOUIS
ST. LOUIS SYPHONY – CARMINA BURANA,  2014

"...his singing was fabulous. His voice was strong throughout its range, extremely accurate in music both fast and exciting, or warm and sustained."

 Tedrin Blair Lindsay, LEXINGTON HERALD-LEDGER
LEXINGTON PHILHARMONIC – MESSIAH,  2014

"Equally alluring vocally, and looking just as attractive when stripped to a towel, countertenor Ryan Belongie brought to Ottone plangent tones that were the most moving of the evening."

 Jason Victor Serinus, OPERA NEWS,

WEST EDGE OPERA – L'INCORONAZIONE DI POPPEA,  2013

"Countertenor Ryan Belongie brought lucid sound and fluent phrasing to the part of Ottone."

 Joshua Kosman, THE SAN FRANCISCO CHRONICLE,

WEST EDGE OPERA – L'INCORONAZIONE DI POPPEA,  2013

"His penetrating alto, unfaltering technique and stage presence made each of his arias an enlightening experience."

– Robert Coleman, THE SALT LAKE TRIBUNE 
UTAH FESTIVAL OPERA – ST. MATTHEW PASSION,  2012

"Special mention must be made of Ryan Belongie, the former San Francisco Opera Adler Fellow who played the countertenor role of the Sage. Belongie’s accomplished singing suggests yet another generation of countertenors will be available for the great baroque opera roles suited to the high male voice."

– OPERA WARHORSES
LYRIC OPERA OF CHICAGO – RINALDO,  2012

"Countertenor Ryan Belongie showed an expressive range almost as wide as his vocal range in some remarkable solo work; the emotional honesty of "He was despised" was especially telling."

– Melinda Bargreen, THE SEATTLE TIMES
SEATTLE SYMPHONY – MESSIAH,  2011

"Belongie has the apt, high flexible instrument for this repertoire and handled the stratospheric passages with agility and a graceful Bach style."

– Lawrence A. Johnson, CHICAGO CLASSICAL REVIEW
GRANT PARK ORCHESTRA – BACH CANTATA 170,  2011

"It was a balm to the ears to hear this lovely music sung securely with Belongie's plaintive sweet tone evoking the right searching innocence."

– Lawrence A. Johnson, CHICAGO CLASSICAL REVIEW
GRANT PARK ORCHESTRA – CHICHESTER PSALMS,  2011

"As Arsamene, the young countertenor Ryan Belongie gave notice of the arrival of a major singer who sounds utterly natural and pleasing even in this 'unnatural' fach."

– Janos Gereben, SAN FRANCISCO CLASSICAL VOICE
WEST EDGE OPERA – XERXES,  2010

"(Angela) Cadelago's beauty of tone, technical prowess, and ease on high were as vital as (Ryan) Belongie's oft-astounding vocalism."

Jason Victor Serinus, SAN FRANCISCO CLASSICAL VOICE

WEST EDGE OPERA – XERXES,  2010

REVIEWS

“In addition to Palmertree and Vargas, singers I very much hope to hear again were Ryan Belongie (with a beautifully creamy countertenor), Daryl Freedman (a thrilling mezzo that could blaze or smolder) and William Meinert (a modest-size but beautifully polished bass).”

 

 Scott Cantrell, THE DALLAS MORNING NEWS

THE DALLAS OPERA – HART INSTITUTE CONCERT,  2018

“...an arresting performance of a Handel aria, beautifully sung by countertenor Ryan Belongie.”

 

 Gregory Sullivan Isaacs, THEATER JONES

THE DALLAS OPERA – HART INSTITUTE CONCERT,  2018

“Pirro was splendidly sung by countertenor Ryan Belongie, who joined in a lovely duet with Kindra Scharich’s Andromaca at the close of Act I.”

 

 James Roy MacBean, BERKELEY DAILY PLANET

ARS MINERVA – LA CIRCE,  2017

“There was plenty to delight the eye and ear, nothing more so from the musical side than a sublimely murmurous love duet for the princess Andromaca and her husband, Pyrrhus, she thought she had lost at sea. Mezzo Kindra Scharich, who sang sweetly and tenderly throughout, paired gorgeously with countertenor Ryan Belongie, their vocal lines seductively imitative, offset and intertwined.”

– Steve Winn, SAN FRANCISCO CLASSICAL VOICE

ARS MINERVA – LA CIRCE,  2017

“Countertenor Ryan Belongie was a suavely handsome Lysander…Vocally, his was a mellifluous performance…His lean, sinewy voice flowed through Purcell’s melodic lines like pure honey, and he negotiated divisions with surety. He radiated boyish sex appeal but was also the most maturely expressive of the principals: gaining cognizance of his brief liaison with Helena, his face conveyed heartbreak and regret as earnestly as his singing.”

– Joseph A. Newsome, VOIX DES ARTS 

CHICAGO OPERA THEATER – THE FAIRY QUEEN,  2016

“His unusual countertenor has a masculine, chesty quality reminiscent of a haute-contre tenor, with pure tone that is uncontrolled at the top but rich in his tessitura. “Voi che udite il mio lamento” (You who hear my lament) could have been written for Belongie; his rendition had me closing my eyes and hoping the aria would never end.”

– Ilana Walder-Biesanz, SAN FRANCISCO CLASSICAL VOICE

WEST EDGE OPERA – AGRIPPINA,  2016

“Masur was aided in no small measure by the orchestra’s best efforts…and a communicative solo trio of baritone Tyler Duncan, (counter)tenor Ryan Belongie and soprano Celena Shafer.”

– James Chute, SAN DIEGO UNION-TRIBUNE

SAN DIEGO SYMPHONY – CARMINA BURANA,  2015

“Countertenor Ryan Belongie made the most of his portrayal of a swan that is roasted and about to be eaten in “Olim lacus colueram” (Once I dwelt in the lakes), confetti feathers flying as he left the stage.”

– Micahel Huebner, ARTSBHAM

ALABAMA SYMPHONY – CARMINA BURANA,  2015

"Vocally and physically he was that swan. The impact was chilling and even heartbreaking. It was the best interpretation of that piece I've seen, bar none."

– Chuck Lavazzi, KDHX ST. LOUIS 
ST. LOUIS SYPHONY – CARMINA BURANA,  2014

"...his singing was fabulous. His voice was strong throughout its range, extremely accurate in music both fast and exciting, or warm and sustained."

 Tedrin Blair Lindsay, LEXINGTON HERALD-LEDGER 
LEXINGTON PHILHARMONIC – MESSIAH,  2014

"Equally alluring vocally, and looking just as attractive when stripped to a towel, countertenor Ryan Belongie brought to Ottone plangent tones that were the most moving of the evening."

 Jason Victor Serinus, OPERA NEWS

WEST EDGE OPERA – L'INCORONAZIONE DI POPPEA,  2013

"Countertenor Ryan Belongie brought lucid sound and fluent phrasing to the part of Ottone."

 Joshua Kosman, THE SAN FRANCISCO CHRONICLE

WEST EDGE OPERA – L'INCORONAZIONE DI POPPEA,  2013

"However, it was countertenor Ryan Belongie who stole the spotlight from his colleagues. A singer with power and depth, his is a voice that is richly modulated and textured and full of warm expressiveness."

Edward Reichel, REICHEL RECOMMENDS 
UTAH FESTIVAL OPERA – ST. MATTHEW PASSION,  2012

"His penetrating alto, unfaltering technique and stage presence made each of his arias an enlightening experience."

– Robert Coleman, THE SALT LAKE TRIBUNE 
UTAH FESTIVAL OPERA – ST. MATTHEW PASSION,  2012

"Special mention must be made of Ryan Belongie, the former San Francisco Opera Adler Fellow who played the countertenor role of the Sage. Belongie’s accomplished singing suggests yet another generation of countertenors will be available for the great baroque opera roles suited to the high male voice."

– OPERA WARHORSES
LYRIC OPERA OF CHICAGO – RINALDO,  2012

"Countertenor Ryan Belongie showed an expressive range almost as wide as his vocal range in some remarkable solo work; the emotional honesty of "He was despised" was especially telling."

– Melinda Bargreen, THE SEATTLE TIMES 
SEATTLE SYMPHONY – MESSIAH,  2011

"Belongie has the apt, high flexible instrument for this repertoire and handled the stratospheric passages with agility and a graceful Bach style."

– Lawrence A. Johnson, CHICAGO CLASSICAL REVIEW 
GRANT PARK ORCHESTRA – BACH CANTATA 170,  2011

"It was a balm to the ears to hear this lovely music sung securely with Belongie's plaintive sweet tone evoking the right searching innocence."

– Lawrence A. Johnson, CHICAGO CLASSICAL REVIEW 
GRANT PARK ORCHESTRA – CHICHESTER PSALMS,  2011

"It is thus significant that his (Ryan Belongie) two selections, drawn from opposite ends of the eighteenth century, were, from a musical point of view, definitely the most stunning offerings of the evening... Belongie focused on letting the music speak for itself, which it did with all the dazzling effects that Mozart had intended for it."

– Stephen Smoliar, SAN FRANCISCO EXAMINER 
SAN FRANCISCO OPERA – ADLER FELLOWS GALA CONCERT,  2010

"Ryan Belongie's Oberon commanded attention from the start. The countertenor revealed a remarkably warm, evenly produced voice, and his supple phrasing included many an exquisite shade."

– Tim Smith, OPERA NEWS 
WOLF TRAP OPERA – A MIDSUMMER NIGHT'S DREAM,  2010

"As Arsamene, the young countertenor Ryan Belongie gave notice of the arrival of a major singer who sounds utterly natural and pleasing even in this 'unnatural' fach."

– Janos Gereben, SAN FRANCISCO CLASSICAL VOICE 
WEST EDGE OPERA – XERXES,  2010

"(Angela) Cadelago's beauty of tone, technical prowess, and ease on high were as vital as (Ryan) Belongie's oft-astounding vocalism."

Jason Victor Serinus, SAN FRANCISCO CLASSICAL VOICE 

WEST EDGE OPERA – XERXES,  2010

"Soprano Angela Cadelago as the girl in question and countertenor Ryan Belongie as Arsamene made a splendid pair of lovers, both of them singing with vigor and flexibility in the most demanding passagework. Their Act 3 duet, a burst of spite and mutual recriminations (born, naturally, of a misunderstanding) was both a comic and vocal highlight."

Joshua Kosman, SAN FRANCISCO CHRONICLE 

WEST EDGE OPERA – XERXES,  2010

"Belongie was a commanding, radiant Spirit"

– Wynne Delacoma, CHICAGO CLASSICAL REVIEW 
MUSIC OF THE BAROQUE – DIDO AND AENEAS,  2010

"Purcell's Ode for St. Cecilia's Day, "Welcome to all the pleasures," with its tangy harmonic clashes and idiosyncratic melodic writing, brought wonderfully stylish singing from (Ryan) Belongie and (Nicholas) Phan."

– John Von Rhein CHICAGO TRIBUNE 
MUSIC OF THE BAROQUE – ODE TO ST. CECILIA,  2010

"Purcell's setting of Christopher Fishburn's 'Welcome to all pleasures,' composed for the Festival of St. Cecilia in 1683, was graced by an excellent quintet of soloists... Ryan Belongie's plangent countertenor was effectively displayed in his recitative and in the lovely 'While joys celestial.' "

 

– Mark Thomas Ketterson, OPERA NEWS 
MUSIC OF THE BAROQUE – ODE TO ST. CECILIA,  2010

"The vocal discovery of the evening was countertenor Ryan Belongie, a smooth voice that did not edge into shrillness and was sized perfectly... His mesmerizing stage presence had just enough threat to justify the title 'King of Shadows' bestowed on him by Puck"

– Charles T. Downey, IONARTS 
WOLF TRAP OPERA – A MIDSUMMER NIGHT'S DREAM,  2010

"Oberon, king of the fairies, was wonderfully and gracefully sung by countertenor Ryan Belongie"

– Joan Reinthaler, WASHINGTON POST 
WOLF TRAP OPERA – A MIDSUMMER NIGHT'S DREAM,  2010

"Singing was top-notch... Countertenor Ryan Belongie expressed the appropriate haughtiness and majesty as Oberon"

– Terry Ponick, THE WASHINGTON TIMES 
WOLF TRAP OPERA – A MIDSUMMER NIGHT'S DREAM,  2010

"There were many champagne moments: Countertenor Ryan Belongie's raging song of love from Handel's "Xerses" tops the list"

– Caroline Crawford, BAY CITY NEWS SERVICE 
SAN FRANCISCO OPERA – MEROLA GRAND FINALE,  2009

"Belongie sang a gorgeous Orfeo"

– Janos Gereben, SAN FRANCISCO CLASSICAL VOICE 
MEROLA OPERA PROGRAM – SCHWABACHER CONCERT,  2009

"Remember the name: Ryan Belongie. Last evening the new crop of Merola artists performed in the annual "Auditions for the General Director." It was an awesome group of 29 with large and luscious voices, one of the best groups in memory. The singer who astounded me most was the countertenor Ryan Belongie from Beaver Dam, Wisconsin. I have never experienced "cara sposa" performed so beautifully. This gentleman mesmerized the audience with both gorgeous sound and marvelous stage presence. You could have heard a pin drop. We were not allowed to applaud (until the very end of the Auditions) but as Belongie finished you could hear the audience start to breathe again."

 

– Bob Brock, OPERA L 
MEROLA OPERA PROGRAM – 2009