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.