Bass David Brundage has appeared in many of the Washington DC area’s most prominent venues including the four theatres of the Kennedy Center.
Highlights of some previous seasons include the Shostakovich Symphony No. 13, Babi Yar with the poet Yevgeny Yevtushenko and the University of Maryland Symphony, a Faure Requiem, and the Kennedy Center’s Messiah Sing-a-Long. 2006 saw his debut with the Chattanooga Opera as Monterone in their production of Rigoletto and a featured solo with the principal trumpet player of the National Symphony, Steven Hendrickson, in “The Trumpet Shall Sound” from Messiah.
Other engagements include Sarastro in Mozart’s The Magic Flute with the Annapolis Opera and a solo recital at Virginia Tech University. He was also at that time a singer and actor in a new work he helped conceive and develop, ”Leaves of War: In Search Of Walt Whitman” at the Source Theatre’s In-Series in Washington DC.
He appeared with the Toledo Opera in October 2003 as the Commendatore in Don Giovanni. January 2004 saw his debut as Osmin in Mozart's The Abduction From the Seraglio for the In-Series at the Source Theatre (DC) where he received rave reviews from the Washington Post. He followed this with Mendelssohn's Elijah with the Springfield Chorale (VA), and as bass soloist with the exciting new early music group, Orchestra of the 17th Century. The next season saw returns to the “In-Series” as Sarastro in their new production of Mozart’s The Magic Flute and the Springfield Chorale for a Brahms’ Requiem.
He has appeared as Sparafucile in Rigoletto and Ramfis in Aida with the Lake Charles Symphony, Simone in Gianni Schicchi in the inaugural production of the Sylvan Opera Theatre, and Oroveso in Norma for Summer Opera Theatre of Washington DC. He performed Commendatore in Don Giovanni for both Opera Delaware and Summer Opera Theatre, Capulet in Virginia Opera’s Romeo and Juliette, the Jailer in Tosca and the Innkeeper in the world premier of Goya with Placido Domingo and the Washington National Opera.
His oratorio experience is extensive including Verdi’s Requiem with the Hudson Valley Philharmonic, Bach’s Magnificat with the Alexandria Symphony, a series of Beethoven Symphony #9 at American University, Handel’s Solomon at the Maryland Handel Festival, Mozart’s Requiem with the Annapolis Symphony, Mozart’s Requiem and Brahms’ Requiem with the Fairfax Choral Society, PDQ Bach’s Missa Hilarious with the Georgetown Symphony, Stravinsky’s Les Noces with the Joffrey Ballet and Dance Theatre of Harlem at the Kennedy Center, his two Carnegie Hall appearances, first in Haydn’s Heiligmesse and then Boccherini’s Villancicos with the New England Symphonic Ensemble, and Handel’s Messiah with the Shreveport Symphony, the National Chamber Orchestra and the Illinois Symphony. He also soloed for two of the Kennedy Center's annual Messiah "Sing-a-Long"s.
A career high point as soloist in the Shostskovich Symphony #13, "Babi Yar", singing Russian text by the poet Yevgeny Yevtushenko.