Filipino-American bass-baritone Enrico Lagasca is an acclaimed and sought-after artist, celebrated for his “smooth, dark bass voice” and commanding stage presence. With a repertoire that spans over a hundred oratorios, operatic roles, world premieres, and art song programs, his artistry resonates deeply with audiences across the United States and internationally. His voice—described as “an oratorio voice that strikes fear of God in the hearts of the audience”—can be heard on five Grammy-nominated recordings.

Enrico’s 2025 season brings exciting debuts with the Nashville Symphony and Milwaukee Symphony, followed by a much-anticipated return to the operatic stage in 2026 in Monteverdi’s L’Orfeo with Ars Lyrica Houston. Recent exciting performances include debuts with the Baltimore Symphony Orchestra, Toronto Symphony Orchestra, and Winston-Salem Symphony Orchestra; appearances at BachFest Leipzig with Bach Collegium San Diego; and collaborations with the San Francisco Symphony and San Francisco Gay Men’s Chorus.

Other notable performances include with Tafelmusik, Portland Baroque Orchestra, St. Louis Symphony Orchestra, Boise Philharmonic, American Classical Orchestra, Experiential Orchestra, and as resident soloist at the 2023 Carmel Bach Festival. Enrico is a frequent collaborator and soloist with Ars Lyrica Houston, Trinity Wall Street, NOVUS NY, Voices of Ascension, Musica Sacra New York, Washington Bach Consort, the University Musical Society, among others. He has worked with renowned conductors including Nicholas McGegan, Jane Glover, Jean-Sebastian Vallé, Riccardo Muti, John Butt, Zubin Mehta, Pablo Heras-Casado, John Nelson, Matthew Halls, Carl St. Clair, and more. 

Critics have hailed Enrico’s performances as “larger-than-life” and “elegant as they are moving.” His performance in Bach’s St. Matthew Passion at Saint Thomas Church in New York was described as “an outpouring of devotion and grief,” and his recent recording of the work was praised for its “completely convincing” clarity and beauty. Gramophone singled him out as “a warm bass voice,” highlighting his expressive singing in the aria “Mache dich, mein Herze, rein.”

A passionate advocate for representation and social justice, Enrico is a co-founding member of  Kaleidoscope Vocal Ensemble, dedicated to community engagement and equity in the arts. His deep commitment to LGBTQ+ advocacy is given voice in frequent performances of Craig Hella Johnson’s Considering Matthew Shepard.

Enrico champions works by living composers. He has premiered pieces by Julia Wolfe, Jonathan Dove, David Lang, Jake Runestad, Alex Berko, Caroline Shaw, and Reena Esmail. He appeared in the U.S. premiere of Jonathan Dove’s The Monster in the Maze with the Baltimore Choral Arts Society, where his performance was hailed as a “visceral force with vivid phrasing.”

A devoted chamber musician, Enrico finds great joy in ensemble singing and works with the country’s leading groups such as Santa Fe Desert Chorale, Conspirare, Skylark, Seraphic Fire, Clarion Choir, and TENET Vocal Artists.

Enrico’s early operatic credits include Collatinus in Britten’s The Rape of Lucretia and Lorenzo in Bellini’s I Capuleti e i Montecchi, under the direction of visionary stage directors like Thaddeus Strassberger, R.B. Schlather, and Kevin Newbury.

A devoted interpreter of art song, Enrico was a finalist in the 2013 Das Lied International Song Competition in Berlin and the 24th International Vocal Arts Competition in Clermont-Ferrand, France. He participated in the inaugural SongStudio at Carnegie Hall led by Renée Fleming. 

Born and raised in the Philippines, Enrico’s musical journey began with the world-renowned Philippine Madrigal Singers, touring internationally between the ages of 16 and 20. 

In addition to his performing career, Enrico is an active educator, maintaining a private studio and offering residencies at institutions such as Southern Virginia University, Amherst College, and Colgate University. He studied at the University of the Philippines and Mannes School of Music, and lives in New York City. 

PÄRT | Passio “Jesus” | Experiential Orchestra

"Jesus, standing aside from the throng, was sung by Enrico Lagasca, whose smooth, dark bass voice was atmosphere in itself. At Blachly’s tempos, Lagasca amazed with his breath control, particularly given Pärt’s long lines, many of which end on a lift of a third sung pianissimo. And his way with the text was just what was needed for this holy part." –ClassicsToday.com

VAUGHAN-WILLIAMS | Five Mystical Songs | San Francisco Symphony/San Francisco Gay Men’s Chorus

“One of my favourite moments of the second half was the beautiful “Comme d’habitude,” sung beautifully by the sharp-dressed Filipino American guest singer Enrico Lagasca, who also performed [Vaughan Williams Five Mystical Songs] earlier in the evening and seemed to be a crowd favourite.” – FSHN

GRIEG | Bergtekne – The Mountain Thrall, Opus 32 | American Classical Orchestra

“With clarity, vocal control, and a commanding stage presence, Lagasca evoked the majestic, awe-inspiring images of Grieg’s Norwegian mountainscape.” – FrontRowCenter

“Lagasca summoned the darkness from the rich core of his voice to contrast with his luminous vocal inflections that rendered some of his phrases iridescent as he weaved a musical spell, ensnaring the listeners into the story’s fatal course.” – Women Around Town

BACH (arr. MENDELSSOHN) | St. Matthew Passion

"this new version is completely convincing; as is the sheer joy exuded by the bass aria “Gebt mir meinen Jesum wieder!” with bass soloist Enrico Lagasca in fine form, with zero smudging to his melismas; Legasca shines again towards the end in his aria, “Mache dich, mein Herze, rein”. 

HANDEL | Messiah | Portland Baroque Orchestra

"Filipino-American bass-baritone Enrico Lagascablew the audience away with his emphatic, authoritative and expressive solos that resonated throughout the church. The audience applauded enthusiastically for him at the end of the performance. His most powerful aria was when he joined with trumpeter Kris Kwapis...and sang “The trumpet shall sound, and the dead shall be raised incorruptible… .” He rolled with the trumpet and loved every moment of it. The solo was nothing short of triumphant, even with a bit of daring decoration on the word, “trumpet.”

PURCELLOde to St. Cecilia

“Enrico Lagasca’s bold bass-baritone impressed with unusual brilliance and power even in his lowest register.”

—San Diego Story

WOO, Hye-wonMyong-Tae

“The extraordinary agility of Enrico Lagasca’s contrasting bass voice were riveting.” 

— South Florida Classical Review

BACH St. Matthew Passion



“The emotional apex of the performance came immediately after the death of Jesus with bass-baritone Enrico Lagasca’s singing of Mache dich, mein Herze rein…Lagasca’s singing of Ich will Jesus selbst begraben in the aria…was an outpouring of devotion and grief as elegant as it was moving.”

—Seen and Heard International

BACH Christ lag in Todes Banden, BWV 4



“Lagasca...delivered a convincing description of Christ as the Paschal Lamb in a rangy vocal setting that descended several times to low E; Mr. Lagasca’s voice rang out clearly even on these unusually low pitches.”

—The East Hampton Star

MENDELSSOHNDie erste Walpurgisnacht

“Bass-baritone Enrico Lagasca summoned nearly as much volume as everyone else onstage put together and matched that visceral force with vivid phrasing.”

—By Tim Smith, former arts critic of the Baltimore Sun

SVIRIDOVInexpressible Wonder

“Lagasca’s mellow solo bass set the atmosphere for the hymn-like stasis of Hear Us O Lord and It is Worth.”

—South Florida Classical Review

HAILSTORK (Arr.) Go Down, Moses

“An exceptional solo by bass Enrico Lagasca…with a huge, bronze-like basso profundo instrument who made the most of his repeated exhortations to Let my people go.”

—Palm Beach ArtsPaper

EŠENVALDS, ĒRIKS Love’s Philosophy

“Lagasca… whose commanding sound you can sense coming from very depths of his core.”

—Stir Publishing Vancouver Inc.

PÄRT | Passio “Jesus”

“Lagasca’s deep bass-baritone giving the Nazarene an otherworldly authority - a rock unmoved by the air blowing from the Roman governor…”

—Austin Chronicle

Bach | St. John Passion | American Classical Orchestra

“Enrico Lagasca’s booming, sumptuous voice endowed the role of Jesus with a larger-than-life, imposing presence, at times thunderous, at times enigmatic.” - Woman Around Town