Siegfried | Götterdämmerung
Longborough Festival Opera
Conducted by Anthony Negus
Directed by Amy Lane
The Guardian
“The chief virtue of her Siegfried, Bradley Daley, was the clarity of his diction allied to vocal stamina. Following the chicanery of this galumphing youth being drugged and duped, it was in dying, and the tender memory of his love for Brünnhilde, that he engendered most sympathy.”
Seen and Heard International
“Siegfried falls into the traps set for him by the scheming amoral Gibichungs much too readily and so must come across as guileless. The open-faced Bradley Daley did this well, and created a rounded character whilst singing subtly, tirelessly, and with firm and strong top notes. It may not be the most ringing or lyrical of heroic tenors, but he is better than many of the current Siegfrieds and I much prefer him to Andreas Schager (to name just one).”
Siegfried | Ring Cycle
Melbourne Opera
Classic Melbourne
“Bradley Daley’s vocal stamina was remarkable. His substantial Heldentenor was often alluringly lyrical and once again punctuated by brilliant, rock solid top notes – ringing, true and free. As the naïve loyal friend to Hagan’s half-brother Gunther, Daley’s portrayal of cheerful confidence was convincing. Siegfried’s moment of enlightenment is short-lived as Hagan immediately stabs him in the back after giving him the antidote that brings him to his senses.”
Man in Chair
“Daley’s unquestioned high point of the opera comes in act three when Siegfried is recapping his journey to date. Slipped another potion, Siegfried suddenly recalls his great love for Brünnhilde and is struck by the enormity of the deception and unwanted pairings that have transpired. Daley clearly conveys every beat of this sequence with moving passion, making the character’s subsequent death all the more tragic.”
Australian Book Review
“Bradley Daley acted with energy and involvement, just as he sang with great accuracy and power. It was a memorable performance in this toughest of roles in the German tenor repertoire”
Siegmund | Die Walküre
Melbourne Opera
Conducted by Anthony Negus
Directed by Suzanne Chaundy
Arts Review
“As Siegmund, Bradley Daley is the perfect match, employing his deeply penetrating and fleshy heldentenor with searing intensity as the courageous, passionate and enlightened but doomed hero he becomes. Together, Daley and @leeabrahmsensoprano never fail.
Limelight
“Bradley Daley expresses Siegmund’s heroism and grief with an assured, agile tenor.”
Simon Parris man in chair
“With apparent ease, Daley provides Siegmund’s clarion heldentenor vocals, his voice ringing forth with heroic notes that are never overly projected.”
Opera Magazine
“The Siegmund and Sieglinde of Bradley Daley and Lee Abrahmsen were both lustrous and powerful. Daley already has Siegfried in his repertoire…”
Florestan | Fidelio
Melbourne Opera
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.
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
Hancock Artists 