Bradley Daley – Reviews

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.


“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 |

“…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
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


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
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