BRADLEY COOPER

BRADCOOPER-TENOR.COM TENOR


Born in Sydney Australia, Brad Cooper studied at the Sydney Conservatorium of Music, the National Opera Studio in London and with Marilyn Horne at Music Academy of the West, California. Brad continues his development into the German repertoire under the guidance of Siegfried Jerusalem

In the 2024/25 Season Brad returns to Mainfranken Theater Würzburg as Giasone in Cherubini’s Medea and Tambourmajor in Alban Berg’s Wozzeck, while in London he returns to the title role of Siegfried for London Opera Company at St John’s Smith Square. Brad has also been engaged as Siegfried for Grange Park Opera’s upcoming production of Der Ring des Nibelungen

Recent seasons have seen Brad appear as Siegfried in Melbourne Opera’s Ring Cycle, Apollo in Strauss’ Daphne for Scottish Opera; Agamemnon in Ernst Krenek’s 1930 opera Leben des Orest and Siegmund in Wagner’s Die Walküre for Theatre Münster; Albert Gergor in Janáček’s Věc Makropulos and Aegisth in Strauss’ Elektra for Mainfranken Theater Würzburg. 

Brad’s career has featured appearances as Tamino in Die Zauberflöte for Opera Australia, Oper Köln & English Touring Opera, Albert in Albert Herring for Opera Australia, Belmonte in Mozart’s Die Entführung aus dem Serail for Oper Köln, Florestan in Beethoven’s Fidelio for Kammeroper Schloss Rheinsberg, Almaviva in Il Barbiere di Siviglia for Opera Holland Park in London, Don Alonse in Grétry’s L’amant jaloux for Opera Comique in Paris, Davey in Jonathan Dove’s Siren Song and Aubry in Marschner’s Der Vampyr for Grachtenfestival in Amsterdam, Emilio in Tutti in Maschera at Wexford Festival and create the role of Clem in Misha Hamel’s Snow White for Nederlandse Reisopera. In 2018 Brad toured throughout China as Radamès in Aida for Australian International Opera. 

In concert Brad has performed Jonathan in Handel’s Saul & Beethoven’s 9th for Philharmonia Choirs at Sydney Opera House, Handel’s Messiah and Mozart’s Requiem with St Andrew’s Cathedral Choir in Sydney, Britten’s St Nicolas at Newcastle Music Festival and Orfeo in Haydn’s L’orfeo under the baton of Richard Bonynge. 

Brad is passionate about sharing his love of music across multiple genres and disciplines. His ‘crossover’ shows BERLIN ELECTRIC, A NIGHT in VIENNA, ARIAS in the OUTBACK and COOPER sings KABARETT have played to sell out audiences in Australia London, Europe and the USA. His MAGIC FLUTE WORKSHOP has brought the fantastical world of Opera to thousands of children in Australia, while his 2018 choir & band project, TERRA AUSTRALIS, introduced hundreds of students in Ohio (USA) to Australian Music. 

Brad is thankful for the support of Nance Atkinson Trust, Wagner Society in NSW, Tait Memorial Trust, Australian Singing Competition and the Dame Joan Sutherland & Richard Bonynge Scholarship.

PRESS

  • „Die Besetzung überzeugt stimmlich und darstellerisch. Der australische Tenor Brad Cooper singt den Florestan voller Kraft und Leidenschaft. Am Boden angekettet, gibt er alles. Schluchzt, ächzt, und schreit seinen Schmerz hinaus."

    Märkische Allgemeine Zeitung - Kultur | FIDELIO at Kammeroper Schloß Rheinsberg

  • "The cast is convincing vocally and dramatically. Australian tenor Brad Cooper sings Florestan full of strength and passion. Chained to the ground, he gives everything. Sobs, groans, and screams out his pain."

    Märkische Allgemeine Zeitung - Kultur | FIDELIO at Kammeroper Schloß Rheinsberg

  • „Brad Cooper singt Florestan mit einer Mischung aus abgründiger Verzweiflung und unbedingter Widerstandskraft, seine Ketten rasseln und klimpern, während er von unten angestrahlt wird, was ihm die Anmutung eines wilden Tieres verleiht."

    Der Tagesspiegel | FIDELIO at Kammeroper Schloß Rheinsberg

  • "an easy lyric tenor"

    FOR ALBERT HERRING in SYDNEY | Daily Telegraph, Sydney - Tom Pillans

  • "...Cooper performed the job swimmingly!"

    FOR ALBERT HERRING in SYDNEY | Daily Telegraph, Sydney - Grant Jones

  • "...the laurels on opening night were most definitely won by Brad Cooper in the title role. A most auspicious debut. [...] a 'star is born' moment."

    FOR ALBERT HERRING in SYDNEY | ABC Limelight Magazine - Clive Paget (Albert Herring, Opera Australia)

  • "Brad Cooper was simply superb in the role of Orfeo, singing with a depth of passion. The role is constant and demanding, and his vocal interpretation was consistently impressive.”

    ClassikON - Marguerite Foxon (Orfeo ed Euridice, Sydney)

  • "A star was born on the first night of the run when tenor Brad Cooper opened his mouth. You could go round the world and never hear a better-sung Count Almaviva.“

    Musical Criticism, UK - Dominic McHugh (Il Barbiere di Siviglia, Opera Holland Park)

  • "He's fearless in his vocal athleticism and heroic enough in character to mask the role's difficulties."

    THE STAGE. CO.UK - Edward Bhesania (Il Barbiere di Siviglia, Opera Holland Park)

  • "Brad Cooper is magnificent as the innocent sailor launched on an emotional flood tide by the promise of his ideal woman."

    Christopher Cooke - BBC Music Magazine | Jonathan Dove’s ‘Siren Song’ recording with Chandos

  • "Brad Cooper is simply brilliant as the naïve dreamy Palmer, his lyric tenor giving a nice shape to Palmer's long lines. It says a lot for Cooper's musical skill that he makes Palmer completely believable, even if you do want to give him a shake for being so trusting. No other character has quite as much air-time as Palmer and it is Cooper who very much carries the piece and ensures that the drama works."

    Robert Hugill - Music Web International | Jonathan Dove’s ‘Siren Song’ recording with Chandos

  • "The singers inhabit their roles convincingly, with Cooper's lyric tenor voice always at the centre of the emotional journey of the opera. He persuasively manages to find the right appearance of youth and vulnerability in the early stages, with a naïve presence and meek practice of phrasing well suited to his role. He produces an affecting and precise tone across the middle register, and projects powerfully and pleadingly at the top of his range in his final, angry scenes."

    Stephen Graham - Musical Criticism | Jonathan Dove’s ‘Siren Song’ recording with Chandos

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