Reviews
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La Clemenza di Tito | National Opera
“ …. Bradley Daley making his role debut as Tito …. Bradley Daley gives an impressive performance in the central role as Tito. His gritty heldentenor voice is exactly right for the ruler who must decide the fate of his best friend, Sesto. His climatic second act aria, Se all’impero, in which he decides that if the world should accuse him of anything, it should be of showing too much mercy, was a highpoint of the evening.”
Bill Stephens OAM
Australian Arts Review
12 April, 2021
“Daley as the Roman Emperor Tito produced some wonderful arias, and his Italian accent made him sound like a native.”
Rob Kennedy
Canberra City News
11 April, 2021
Summer of the Seventeenth Doll | State Opera of South Australia
“Bradley Daley …….. show just how strong the Australian character can be within the world of opera.”
Brett Allen-Bayes
Limelight
17 November, 2020
“Is this heldentenor Bradley Daley as Barney, swaggering and drinking, as a beer gutted totally convincing Aussie larrikin, drawing maybe on his Queensland childhood? Too right.”
Ewart Shaw
The Advertiser
15 November, 2020
“Bradley Daley (Barney), could hardly be bettered. One is swept up by their vivacity and, ultimately, their misfortune.”
The Australian
15 November, 2020
Fidelio | Melbourne Opera
“From his first appearance, for Florestan’s grand aria at the opening of Act II, Bradley Daley neatly conveyed his character’s sense of teetering between hope and hopelessness. His warm tenor was strong and sure throughout.”
Patricia Maunder
Limelight
6 February, 2020
“Bradley Daley, as Florestan, is in absolutely superb voice. Opening Act II on a high G, lying on his stomach no less, Daley starts strong and his hugely impressive tenor never falters.”
Bridget Davies
Opera
6 February, 2020
Peter Grimes | Brisbane Festival and Opera Qld
" Bradley Daley’s clear, ringing tenor at its best as the Methodist lush Bob Boles”
Martin Buzacott
The Australian
24 September, 2018
“Bradley Daley was in excellent form as Bob Boles.”
Gillian Wills
The Australian Book Review
24 September, 2018
“Commendation was well earned by Bradley Daley for his piercing yet blundering tenor as Bob Boles,”
Bridget O’Brien
Cut Common
26 September, 2018
“Bradley Daley was a highlight as Methodist preacher Bob Boles, his tenor ringing out clearly in both his drunken lechery and self-righteous condemnation”
Angus McPherson
Limelight
21 September, 2018
Die Meistersinger von Nürnberg |
State Opera of South Australia
“As his attentive student, Walther, Bradley Daley, a true heldentenor, delivered a warm, dynamic performance...”
Alan Brissenden
Adelaide Review
August 6, 2018
“Daley fitted this role perfectly…”
Sally Putnam
Stage Whispers
August 5, 2018
Siegfried / Götterdämmerung |
Kiel
"...es gibt viel zu sehen in dieser„Götterdämmerung“. Doch die finale Produktion des neuen Kieler „Rings“ ist eher ein Genuss für die Ohren.
Denn Bradley Daley gibt eine unbelehrbar juvenilen Siegfried, der allerdings ebenso unbeschwert und leichtgängig singt..findet vor allem in Höhenlagen ihre glanzvollen Stärken."
"...there is much to see in this "twilight of the gods". The final production of the new Kiel "Ring" is a delight for the ears.
Because Bradley Daley is a youthful Siegfried who sings just as carefree and easily...with glittering strengths especially in the higher elevations."
Von Christoph Munk
Hansen & Munk
11 March, 2018
“Any opera goer waits for ‘La Donna e mobile’ from Rigoletto and Bradley Daley does not disappoint. He makes singing in the tenor range look simple when it is far from that. His face lit up in the ovation received at the end of the aria.”
Barry Hill
Stage Whispers
November, 2017
Verdi Spectacular | South Australian Opera
The Ring Cycle | Opera Australia
“As the twins in love, Daley is superb and Wagner a flat out revelation. They totally hold us enthralled in that first act and their subsequent solos are thrilling and emotionally complex. The only pity is that neither of them appear in the two operas to follow.”
Tim Byrne
Time Out Melbourne
November 25, 2016
“And as the doomed twin lovers, Bradley Daley and Amber Wagner are revelatory”.
Clem Bastow
The Guardian
November 29, 2016
“Bradley Daley’s Siegmund is youthful, passionate and chivalrous. His clarion tenor voice is heroic and agile, leaping the demanding vocal line with ease and power.”
Gregory Pritchard
Concerto Net
November 2016
“Bradley Daley has many fine moments, both vocal and dramatic: his long narration in Act I is especially effective and his Act II scene with Brünnhilde is genuinely telling. A powerful middle register is ideal for Siegmund, and Daley essentially has all the top notes…”
Clive Paget
Limelight
November 24, 2016
La Fanciulla del West
"Bradley Daley is spot on as Dick Johnson, the unlikely and unwilling bandit, his voice clear and strong, his stage presence charming."
Ewart Shaw
The Advertiser
September 2009
Fidelio
Bradley Daley didn't let down the opening night crowd with a faultless performance as Florestan. He opens the second act with two wonderful arias: Gott! Welch Dunkel Hier (God! What Darkness Here) and In Des Lebens Frühlingstagen (In The Spring Of Life).
Jason Whittacker
Australianstage.com.au
July 2009
Hymn of Praise | Mendelssohn
"When tenor Bradley Daley took to the stage he brought the words of 'Sing ye praise' to life. This was a masterclass in expression and interpretation plus the pleasure of hearing such a fine voice. A later solo 'The sorrows of death' containing lines such as 'Watchman, will the night soon pass' were a gift to the operatic skills of such an imaginative singer…"
Rose Pullman
Hertfordshire Mercury