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bradley smith - tenor - reviews

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Buxton Festival - Albert Herring

Bradley Smith's pleasing, flexible tenor bloomed in line with Albert's gradual loss of innocence ... it was an auspicious role debut.
 Opera, September 2017

At its heart is Bradley Smith - warmly believable as the timid Albert … he gilds a character comedy with some really excellent singing, giving Britten’s satire the weight of something real and human.
The Spectator, 15 July 2017

As Albert … Bradley Smith’s interpretation is a masterly vocal and acted portrayal. ... one could only be admiring of Smith’s playing of the role
Seen and Heard, 11 July 2017

An excellent cast including Bradley Smith as a likeable Herring.
The Times, 10 July 2017

Bradley Smith sheer perfection as Albert Herring himself.
Mark Ronan, 9 July 2017

 The English Concert - Ariodante

Plaudits are also due to … upcoming British tenor Bradley Smith as an unctuous and ubiquitous courtier.
Telegraph, 26 May 2017

Innsbruck Festival - Cesti Le nozze in Sogno
Lelio was the young Bradley Smith whose clear tenor voice and harmonious and affecting singing were just right.
Operalibera.net, 20 August 2016

Bach St Matthew Passion - Ex Cathedra & the City of Birmingham Symphony Orchestra

Among the other outstanding solo contributions mention must be made of soprano Katie Trethewey and tenor Bradley Smith, their emotional engagement with the text and music so vividly communicated.
Birmingham Post 29 March 2016

The Rakes Progress - Royal Academy Opera at Jack Lyons Theatre

Bradley Smith, whose tenor is light and penetrating, was especially touching in Tom’s madness. …
Opera, May 2015

Bradley Smith in the title role grew into his part wonderfully as his character declined.
The Observer, 22 March 2015

The Rape of Lucretia - Royal Academy Opera at Jack Lyons Theatre

Bradley Smith, whose defined tenor remained acutely focused, even as his
constrained character battled with emotion…
Opera, 1 July 2014

Bradley Smith was an excellent Male Chorus: with understated, natural acting, he navigated the emotional hurdles of his strange position on stage with aplomb, his clear voice making the most of Ronald Duncan’s wonderful libretto (“The night is weeping with its tears of stars”). He is to be congratulated.
Bachtrack, 14 May 2014