Described as 'unflaggingly robust' by Opera Magazine, Brian is an operatic tenor, based in London (UK), freelancing around Europe and the United States. As a lyric Heldentenor, his favourite roles have been Siegmund in Die Walküre and the title roles of Tristan, Parsifal, and Peter Grimes.
Recently, Brian was selected for the live finals of the prestigious Wagnerian Lauritz Melchior International Singing Competition in Denmark. He had the pleasure of singing the rarity of Mark in Ethel Smyth's The Wreckers, as part of the centenary of Women's Suffrage. Additionally, he was honoured to revisit Siegmund, making his New York City debut in Summer 2019, singing in Carnegie Hall.
Brian teaches most vocal styles, having had extensive training in classical and music theatre techniques. Additionally, he has music directed a number of musicals over the last decade. This, combined with being an active performer and teacher in UK institutions for over 10 years, gives him a unique amount of experience and expertise for singing students.
'Brian Smith Walters and Gweneth-Ann Rand offered pretty much everything one could hope for in the Volsung lovers. The former's Heldentenor thrilled vocally as any Siegmund must; there was, though, much more to him than that. Like the rest of the cast, he took advantage of the lack of full staging to show just how much character narrative can develop through words and music. From outlawry and dejection to apparent victory, only to be snatched away from him by the chief of the gods himself (ever unknown to him as his father), this was a story that demanded to be told.'
'Brian Smith Walters showed himself here as a Tristan every inch a Heldentenor. As vividly communicative in words as in music, Smith Walters paced his performance wisely, with as keen a developmental edge as any listener might wish for, culminating in shattering agonies and sweetly long-for release.'
'He unflinchingly traced the trajectory of the proud hero, humbled by love and racked with guilt, to an agonised, hallucination-ridden Act III of such Vickers-like intensity that one feared both for the character and the singer. His wondrous bronze trumpet of a tenor made the music sound almost insolently easy, and his communication of the text was amazingly vivid.'
'For all the surrounding metaphysics, this was a profoundly human journey'