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Brindley Sherratt

  • Bass

Reviews

Brindley Sherratt press reviews

Welsh National Opera – ‘Die Meistersinger von Nürnburg’ – June / July 2010

"Brindley Sherratt must be singled out for his tremendous achievement as Veit Pogner. Mr. Sherratt has a bass-baritone of enjoyable timbre and considerable power, which he deploys with great security as well as sensitivity. His prowess in the role suggests that he, too, may have a fine Sachs within him."
James Sohre Opera Today, 11 July 2010

"The richest sounds come from Sherratt, whose gorgeous legato makes Act I a treat."
Anna Picard, The Independent, 27 June 2010

"Brindley Sherratt brought his customary dignity to the role of Veit Pogner."
Rian Evans, Classical Source, 28 June 2010

"Brindley Sherratt was impressive as Pognor."
Michael Kennedy, Opera, August 2010

"Brindley Sherratt’s sterling Pognor…"
Richard Morrison, The Times, 21 June 2010

"Brindley Sherratt gave the role of Pogner a gravitas and long-frocked sensibility."
Bethan Fryar, Opera Britannia, 22 June 2010

"Brindley Sherratt was a very fine and non-decrepit Pogner. His moments of self doubt about the course he has set were genuinely moving."
Sebastian Petit, What's on Stage, 01 July 2010

"Brindley Sherratt, noble and intelligent of phrase in his long Act One narrative."
David Nice, The Arts Desk, 20 June 2010

"Brindley Sherratt makes an exemplary Pognor."
George Hall, The Stage, 21 June 2010

"Brindley Sherratt's Pogner was dignified and sonorous."
Billy Kenny, Seen and Heard UK Opera Review, June 2010

English National Opera – ‘Messiah’ – November / December 2009

"Bass soloist Brindley Sherratt was extremely impressive indeed – his dark-hued voice has a velvety quality and a warm, attractive richness. Sherratt’s breath control and technique were superb - he fearlessly attacked some of Handel’s longer runs and maintained perfect precision and tonal quality throughout, easily managing to go for ten bars or more without taking a breath.  “Thus saith the Lord” was wonderfully dramatic and “Why do the nations” thrillingly sung with great energy and brio... His rendition of “The trumpet shall sound” was solid as a rock with very clean coloratura and a majestic tone throughout – and despite being dressed in jeans and a scruffy black t-shirt, Sherratt still managed to exude gravitas and authority."
Faye Courteney, Opera Britannia, 30 November 2009

"The sonorous Brindley Sherratt..."
Edward Seckerson, The Independent 30 November 2009

"Musically,  another of the evening's soloists came into his own – Brindley Sherratt gave a sonorous, full-voiced account of "Why do the nations" and developed even more forcefully the characterisation and persona of his incarnation in Part One. He was emphatic, rhythmically precise and imposing in the role."
Mike Reynolds, Musical Criticism, 30 November 2009

English National Opera – ‘Rigoletto’ – September 2009

"Sparafucile [is] well potrayed by Brindley Sherratt…Sherratt plumbs the vocal depths with ease and offers plenty of menace"
Mark Pullinger, Opera Britannia, 22 September 2009

"Brindley Sherratt convinces again as granitic, black hearted Sparafucile."
David Gutman, The Stage, 22 September 2009

"Brindley Sherratt’s tomb-voiced Sparafucile (another fine, chilling characterisation)…"
Richard Morrison, The Times, 23 September 2009

"Brindley Sherratt’s deep, dark bass is perfect for Sparafucile."
Nick Breckenfield, What's On Stage, 24 September 2009

"Fine expressive singing comes from the supporting cast including...Brindley Sherratt’s sepulchral bass as the menacing Sparafucile (sounding so much like the young John Tomlinson in 1982)."
Jim Pritchard, Seen and Heard, 25 September 2009

Opera North – ‘Don Carlos’ – May 2009

"Brindley Sherratt was a moving King Philip, torn between love for his wayward son and fear for the Church."
Michael Kennedy, Opera Magazine, July 2009

"The highlight is the chilling encounter between Phillip II and his Grand Inquisitor, a gravid duet for two basses that descends to the roots of religious paranoia. Brindley Sherratt has a haunting, hollow tone as the King."
Alfred Hickling, The Guardian, 06 May 2009

"Brindley Sherratt underlines Philip’s scorched humanity."
Andrew Clark, Financial Times, 06 April 2009

"Brindley Sherratt captured the king's lonely, depressive side with compassion."
Fiona Maddocks, The Observer, 10 May 2009

"Brindley Sherratt [as] Philip II sang with admirable fluency and security."
Rupert Christiansen, Daily Telegraph, 05 May 2009

English National Opera – ‘Boris Godunov’ – November 2008

"More persuasively Russian, more in synch with the work's religious angst, is Brindley Sherratt's imposing Pimen."
Anthony Holden, The Observer, 16 November 2008

"Brindley Sherratt's incisive, commanding Pimen…"
Anna Picard, The Independent on Sunday, 16 November 2008

"Brindley Sherratt is a picture of authority as the austere chronicler Pimen."
Warwick Thompson, Bloomberg, 14 November 2008

"Brindley Sherratt commands Pimen's great monologue as if the voice itself carries the weight of history."
Edward Seckerson, The Independent, 12 November 2008

"Brindley Sherratt’s stage-filling Pimen (a Gurnemanz in the making)…"
Andrew Clark, Financial Times, 12 November 2008

"Outstanding is Brindley Sherratt as Pimen."
Barry Millington, The Evening Standard, 11 November 2008

"Brindley Sherratt's Pimen is a model of clarity."
Andrew Clements, The Guardian, 12 November 2008

"Brindley Sherratt brings Pimen's monologue vividly to life."
Rupert Christensson, The Daily Telegraph, 12 November 2008

"Brindley Sherratt is moving as the wise old chronicler Pimen."
Richard Morrison, The Times, 11 November 2008

"As Pimen, Brindley Sherratt had more of that world-weary timbre and was significantly convincing in his portrayal, creating a character defined by a quiet nobility and deep knowledge, hinting strongly at the latent power carried with it. His was probably the vocal performance of the evening…"
Hugo Shirley, Musical Criticism, 12 November 2008

Royal Opera House, Covent Garden – ‘Eugene Onegin’ – March 2008

"All of the small roles were taken confidently, with special praise for two stalwart troopers:…[including] Brindley Sherratt as Prince Gremin."
Roger Parker, Opera Magazine, May 2008

"Brindley Sherratt’s Gremin is dignity personified."
Andrew Clark, The Financial Times, 14 March 2008

"Brindley Sherratt was excellent as Prince Gremin."
Dominic McHugh, Musical Criticism, 09 March 2008

Glyndebourne Festival Opera – ‘Fidelio’ – July / August 2006