Filipino-American bass-baritone Enrico Lagasca is an in-demand vocalist– having performed more than a hundred oratorios, new-music works, opera roles, song cycles, and collections. His “smooth, dark bass voice” can be heard on five Grammy Award-nominated recordings. During the 2024-2025 season, he makes debuts with the Baltimore Symphony Orchestra, the Toronto Symphony Orchestra, and the Winston-Salem Symphony Orchestra. Most recently, he debuted at BachFest in Leipzig with Bach Collegium San Diego and with the San Francisco Gay Men’s Chorus with the San Francisco Symphony.  Other notable recent engagements include being the resident soloist for the Carmel Bach Festival in 2023, debut performances with Tafelmusik in Toronto, Canada, Portland Baroque Orchestra, and Experiential Orchestra, and regularly appearing with The Choir of Trinity Wall Street and Trinity Baroque Orchestra. 

Amid the wide-ranging demands of his repertoire, critics note Enrico’s larger-than-life presence. “Bass-baritone Enrico Lagasca summoned nearly as much volume as everyone else onstage put together.” Storytelling is at the center of his artistry, whether opera or oratorio. He has been described as having “an oratorio voice that strikes fear of God in the hearts of the audience.” His performance of the St. Matthew Passion at New York’s Saint Thomas Church was described as “an outpouring of devotion and grief as elegant as it was moving.” 

Soloist highlights of recent seasons include Haydn's Lord Nelson Mass with Voices of Ascension in New York, Handel's Messiah at Ann Arbor's University Musical Society and at Carnegie Hall with Musica Sacra, Bach's Christmas Oratorio at Washington Bach Consort, and Mendelssohn's Walpurgisnacht with the St. Louis Symphony. Enrico has collaborated with conductors such as Riccardo Muti, Zubin Mehta, Pablo Heras-Casado, Nicholas McGegan, Jane Glover, John Butt, John Nelson, Matthew Halls and Carl St. Clair.

Enrico’s passion extends beyond performing. He is dedicated to advocacy for the Queer community and Diversity, Equity and Inclusion (DEI). As a member of the Kaleidoscope Vocal Ensemble, a musical group committed to diversity and social justice, he participates in creative outreach programming for various communities with limited access to the arts. His performances of Craig Johnson's Considering Matthew Shepard reflect Enrico’s dedication to works that address the LGBTQ+ community. 

As much as the great sacred works of Bach, Handel, Haydn, and Mozart remain in his bones, Enrico enjoys performing music by living composers and has premiered works by Julia Wolfe, Jonathan Dove, David Lang, Jake Runestad, Alex Berko, Caroline Shaw, and Reena Esmail. Enrico also participated in the U.S. premiere of the Jonathan Dove opera The Monster in the Maze with the Baltimore Choral Arts Society, in which he was described as a “visceral force with vivid phrasing.”

Enrico finds immense joy in chamber-group singing, participating in concert ensemble repertoire, frequently collaborating with the Santa Fe Desert Chorale, Conspirare, Skylark, Bach Collegium San Diego, Seraphic Fire, Clarion Choir, TENET Vocal Artists, to name a few. A highlight of recent seasons includes Tyshawn Sorey’s Monochromatic Light (afterlight) directed by Peter Sellers at the Park Avenue Armory with Trinity Wall Street. He is also proud of his involvement with the Grammy-award-winning ensemble The Crossing in the New York Philharmonic’s premiere of Julia Wolfe’s multi-media unEarth. 

Earlier on in his career, Enrico had the joy of interpreting classic operatic repertoire, including Collatinus in Britten’s Rape of Lucretia and Lorenzo in Bellini’s I Capuleti e I Montecchi. His willingness to take risks onstage caught the attention of forward-looking directors such as Thaddeus Strassberger, RB Schlather, and Kevin Newbury.

Enrico has made waves in the art song world as a frequent interpreter of works by Schubert, Schumann, and Brahms. He was a finalist in 2013 in the Das Lied International Song Competition in Berlin and a finalist in the 24th International Vocal Arts Competition Le Centre Lyrique in Clermont-Ferrand, France. In 2019, he participated in Renee Fleming's inaugural Song Studio at Carnegie Hall. His song repertoire includes Schubert’s Winterreise, Schumann’s Dichterliebe, and Mahler’s Kindertotenlieder. 

Enrico’s vocal talent was recognized early on growing up in the Philippines. He found love in singing with the choir and, from ages 16 to 20, toured with the world-renowned Philippine Madrigal Singers. Because of this group, he was able to travel the world and became captivated with music, leading him to his current path. 

An educator himself, Enrico maintains a small private vocal studio and conducts visiting artist residencies at schools such as Southern Virginia University, Amherst College, and Colgate University. He trained at the University of the Philippines and Mannes College of Music and lives in New York City with his husband.

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 Lagasca blew 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