Bass

Brindley Sherratt

Credit: Sussie Ahlburg

Introduction

Highlights in Brindley Sherratt’s 2016/17 season include Oroveso in a new production of Norma and Timur Turandot at Covent Garden; Claggart in a new production of Billy Budd for the Teatro Réal in Madrid and in performances at the Aldeburgh Festival; Geronte de Revoir Manon Lescaut for the Metropolitan Opera; Arkel Pelléas et Mélisande for the Oper Frankfurt; Rocco Fidelio at the BBC Proms and his role debut as Ochs in a new production of Der Rosenkavalier for the Welsh National Opera.

Notable career highlights include Sarastro Die Zauberflöte at the Vienna State Opera, the Netherlands Opera and at Covent Garden; Claggart at the Glyndebourne Festival, the BBC Proms and in New York at the Brooklyn Academy of Music; Arkel for the Opernhaus Zurich; Sparafucile Rigoletto at Covent Garden, Rocco Fidelio at the Glyndebourne Festival; Bottom A Midsummer Night’s Dream at the Festival d’Aix-en-Provence; Doctor Wozzeck at the Lyric Opera of Chicago; Balducci Benvenuto Cellini at the Salzburg Festival; Pogner Die Meistersinger von Nürnberg for the Welsh National Opera and at the BBC Proms; Filippo Don Carlo for Opera North and Pimen Boris Godunov and Fiesco Simon Boccanegra at the English National Opera.

Future seasons see him return to Covent Garden, the Glyndebourne Festival, the Metropolitan Opera, the Opernhaus Zurich and the English National Opera.


Contact


Performance Schedule

  • 19:30 21 Jul 2017 Royal Albert Hall, LONDON More info  

    BEETHOVEN ‘Fidelio’

    Conductor: Juanjo Mena

    Florestan: Stuart Skelton
    Leonore: Ricarda Merbeth
    Jacquino: BENJAMIN HULETT
    Marzelline: LOUISE ALDER
    Rocco: BRINDLEY SHERRATT
    Don Pizarro: Detlef Roth
    Don Fernando: DAVID SOAR

    BBC Philharmonic Orchestra
    Orfeón Donostiarra

  • 20:00 04 Aug 2017 Kursaal San Sebastian, SAN SEBASTIAN More info  

    BEETHOVEN ‘Fidelio’

    Conductor: Juanjo Mena

    Florestan: Stuart Skelton
    Leonore: Ricarda Merbeth
    Jacquino: BENJAMIN HULETT
    Marzelline: LOUISE ALDER
    Rocco: BRINDLEY SHERRATT
    Don Pizarro: Detlef Roth
    Don Fernando: DAVID SOAR

    BBC Philharmonic Orchestra
    Orfeón Donostiarra

  • 18:00 13 Aug 2017 Usher Hall Edinburgh, EDINBURGH More info  

    BRITTEN ‘Peter Grimes’

    Conductor: EDWARD GARDNER

    Peter Grimes: Stuart Skelton
    Ellen Orford: Erin Wall
    Balstrode: Christopher Purves
    Auntie: Susan Bickley
    First Niece: Hanna Husáhr
    Second Niece: Vibeke Kristensen
    Mrs Sedley: CATHERINE WYN-ROGERS
    Swallow: BRINDLEY SHERRATT
    Ned Keene: Marcus Farnsworth
    Bob Boles: ROBERT MURRAY
    Rev Horace Adams: James Gilchrist
    Hobson: Barnaby Rea

    Edvard Grieg Kor
    Collegium Musicum Kor
    Bergen Philharmonic Orchestra & Chorus

  • 18:00 13 Aug 2017 Usher Hall, Edinburgh More info  

    Benjamin Britten  Peter Grimes

    Bergen Philharmonic Orchestra & Chorus
    Edvard Grieg Kor
    Edward Gardner Conductor

    Stuart Skelton Peter Grimes
    Erin Wall Ellen Orford
    Christopher Purves Captain Balstrode
    Susan Bickley Auntie
    Hanna Husáhr Niece 1
    Vibeke Kristensen Niece 2
    Catherine Wyn-Rogers Mrs Sedley
    Brindley Sherratt Swallow
    Marcus Farnsworth Ned Keene
    Robert Murray Bob Boles
    James Gilchrist Rev Horace Adams
    Barnaby Rea Hobson

    Concert Performance

    For further details and tickets, click here.

  • 19:30 28 Sep 2017 London Coliseum, LONDON More info  

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

  • 19:30 03 Oct 2017 London Coliseum, LONDON More info  

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

  • 19:30 06 Oct 2017 London Coliseum, LONDON More info  

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

  • 19:30 09 Oct 2017 London Coliseum, LONDON More info  

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

  • 19:30 11 Oct 2017 Musikverein Vienna, VIENNA More info  

    HANDEL ‘Semele’

    Conductor: Ivor Bolton

    Semele: LOUISE ALDER
    Jupiter: James Way
    Athamas: Ray Chenez
    Somnus & Cadmus: BRINDLEY SHERRATT
    Juno: CATHERINE WYN-ROGERS
    Ino: Ciara Hendrick
    Iris: Mary Bevan
    Apollo: Jeremy Budd
    High Priest: Robert Davies

    Orchestra of the Age of Enlightenment

  • 18:30 14 Oct 2017 London Coliseum, LONDON More info  

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

  • 19:00 18 Oct 2017 Royal Festival Hall, LONDON More info  

    HANDEL ‘Semele’

    Conductor: Ivor Bolton

    Semele: LOUISE ALDER
    Jupiter: James Way
    Athamas: Ray Chenez
    Somnus & Cadmus: BRINDLEY SHERRATT
    Juno: CATHERINE WYN-ROGERS
    Ino: Ciara Hendrick
    Iris: Mary Bevan
    Apollo: Jeremy Budd
    High Priest: Robert Davies

    Orchestra of the Age of Enlightenment

  • 19:30 19 Oct 2017 London Coliseum, LONDON More info  

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

Performance Schedule

  • 19:30 21 Jul 2017
    Royal Albert Hall, LONDON

    BEETHOVEN ‘Fidelio’

    Conductor: Juanjo Mena

    Florestan: Stuart Skelton
    Leonore: Ricarda Merbeth
    Jacquino: BENJAMIN HULETT
    Marzelline: LOUISE ALDER
    Rocco: BRINDLEY SHERRATT
    Don Pizarro: Detlef Roth
    Don Fernando: DAVID SOAR

    BBC Philharmonic Orchestra
    Orfeón Donostiarra

  • 20:00 04 Aug 2017
    Kursaal San Sebastian, SAN SEBASTIAN

    BEETHOVEN ‘Fidelio’

    Conductor: Juanjo Mena

    Florestan: Stuart Skelton
    Leonore: Ricarda Merbeth
    Jacquino: BENJAMIN HULETT
    Marzelline: LOUISE ALDER
    Rocco: BRINDLEY SHERRATT
    Don Pizarro: Detlef Roth
    Don Fernando: DAVID SOAR

    BBC Philharmonic Orchestra
    Orfeón Donostiarra

  • 18:00 13 Aug 2017
    Usher Hall Edinburgh, EDINBURGH

    BRITTEN ‘Peter Grimes’

    Conductor: EDWARD GARDNER

    Peter Grimes: Stuart Skelton
    Ellen Orford: Erin Wall
    Balstrode: Christopher Purves
    Auntie: Susan Bickley
    First Niece: Hanna Husáhr
    Second Niece: Vibeke Kristensen
    Mrs Sedley: CATHERINE WYN-ROGERS
    Swallow: BRINDLEY SHERRATT
    Ned Keene: Marcus Farnsworth
    Bob Boles: ROBERT MURRAY
    Rev Horace Adams: James Gilchrist
    Hobson: Barnaby Rea

    Edvard Grieg Kor
    Collegium Musicum Kor
    Bergen Philharmonic Orchestra & Chorus

  • 18:00 13 Aug 2017
    Usher Hall, Edinburgh

    Benjamin Britten  Peter Grimes

    Bergen Philharmonic Orchestra & Chorus
    Edvard Grieg Kor
    Edward Gardner Conductor

    Stuart Skelton Peter Grimes
    Erin Wall Ellen Orford
    Christopher Purves Captain Balstrode
    Susan Bickley Auntie
    Hanna Husáhr Niece 1
    Vibeke Kristensen Niece 2
    Catherine Wyn-Rogers Mrs Sedley
    Brindley Sherratt Swallow
    Marcus Farnsworth Ned Keene
    Robert Murray Bob Boles
    James Gilchrist Rev Horace Adams
    Barnaby Rea Hobson

    Concert Performance

    For further details and tickets, click here.

  • 19:30 28 Sep 2017
    London Coliseum, LONDON

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

  • 19:30 03 Oct 2017
    London Coliseum, LONDON

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

  • 19:30 06 Oct 2017
    London Coliseum, LONDON

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

  • 19:30 09 Oct 2017
    London Coliseum, LONDON

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

  • 19:30 11 Oct 2017
    Musikverein Vienna, VIENNA

    HANDEL ‘Semele’

    Conductor: Ivor Bolton

    Semele: LOUISE ALDER
    Jupiter: James Way
    Athamas: Ray Chenez
    Somnus & Cadmus: BRINDLEY SHERRATT
    Juno: CATHERINE WYN-ROGERS
    Ino: Ciara Hendrick
    Iris: Mary Bevan
    Apollo: Jeremy Budd
    High Priest: Robert Davies

    Orchestra of the Age of Enlightenment

  • 18:30 14 Oct 2017
    London Coliseum, LONDON

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

  • 19:00 18 Oct 2017
    Royal Festival Hall, LONDON

    HANDEL ‘Semele’

    Conductor: Ivor Bolton

    Semele: LOUISE ALDER
    Jupiter: James Way
    Athamas: Ray Chenez
    Somnus & Cadmus: BRINDLEY SHERRATT
    Juno: CATHERINE WYN-ROGERS
    Ino: Ciara Hendrick
    Iris: Mary Bevan
    Apollo: Jeremy Budd
    High Priest: Robert Davies

    Orchestra of the Age of Enlightenment

  • 19:30 19 Oct 2017
    London Coliseum, LONDON

    VERDI ‘Aida’

    Conductor: Keri-Lynn Wilson
    Conductor: Christian Baldini (10 & 17 November)
    Director: Phelim McDermott

    Aida: Latonia Moore (28 September-27 October)
    Aida: Morenike Fadayomi (31 October-02 December)
    Radamès: Gwyn Hughes Jones
    Amneris: MICHELLE DEYOUNG (28 September-27 October)
    Amneris: Dana Beth Miller (31 October-02 December)
    Amonasro: Musa Ngqungwana
    Ramfis: BRINDLEY SHERRATT
    The King of Egypt: Matthew Best
    High Priestess: ELEANOR DENNIS
    Messenger: DAVID WEBB

    Chorus and Orchestra of the English National Opera

From The Green Room

Online Performances

 

Discography

  • MOZART 'Die Zauberflöte' More info  

    Label: Opus Arte

    Release Date: 02 Feb 15

    Simon McBurney's production from the Netherlands Opera

    Tamino: Maximilian Schmitt
    Pamina: Christina Landshamer
    Papageno: Thomas Oliemans
    Sarastro: Brindley Sherratt

    Netherlands Chamber Orchestra/Marc Albrecht

  • OFFENBACH 'Fantasio' More info  

    Label: Opera Rara

    Release Date: 29 Sep 14

    Winner, Best Opera Recording (International Opera Awards)

    Fantasio: Sarah Connolly
    Le prince de Mantoue: Russel Braun
    Marinoni: Robert Murray
    Elsbeth: Brenda Rae
    Flamel: Victora Simmonds
    Le roi: Brindley Sherratt
    Sparck: Neal Davies

    Orchestra of the Age of Englightenment/Sir Mark Elder

  • DONIZETTI 'Imelda de'Lambertazzi' More info  

    Label: Opera Rara

    Release Date: 02 Apr 13

    Acis: Benjamin Hulett
    Galetea: Jeni Bern
    Polyphemus: Brindley Sherratt

    Christ Church Cathedral Choir
    Oxford Philomusica/Stephen Darlington

  • HANDEL 'Semele' More info  

    Label: Chandos

    Release Date: 25 Mar 13

    Semele: Rosemary Johsua
    Ino: Hilary Summers
    Athamus: Stephen Wallace
    Jupiter: Richard Croft
    Iris: Gail Pearson
    Somnus/Cadmus: Brindley Sherratt

    Early Opera Company/Christian Curnyn

  • HAYDN 'Harmoniemesse' More info  

    Label: Philips

    Release Date: 18 Mar 13

    Bass: Brindley Sherratt

    English Baroque Soloists/Sir John Eliot Gardiner

  • HAYDN 'Heiligmesse' & 'Paukenmesse' More info  

    Label: Philips

    Release Date: 16 Mar 13

    Bass: Brindley Sherratt

    English Baroque Soloists/Sir John Eliot Gardiner

  • MEYERBEER 'L'esule di Granata' More info  

    Label: Opera Rara

    Release Date: 11 Feb 13

    Almanzor: Manuela Custer
    Azema: Laura Claycomb
    Sulemano: Mirco Palazzi
    Alamar: Paul Austin Kelly
    Ali: Brindley Sherratt
    Omar: Ashley Catling

    Academy of St Martin in the Fields/Giuliano Carella

  • 'La Partenza' More info  

    Label: Opera Rara

    Release Date: 07 Jan 13

    Laura Claycomb
    Bruce Ford
    Manuela Custer
    Roberto Servile
    Dominic Natoli
    Nicola Rossi Giordano
    Dean Robinson
    Brindley Sherratt

    David Harper (piano)

  • DONIZETTI 'Maria di Rohan' More info  

    Label: Opera Rara

    Release Date: 06 Apr 13

    Riccardo: Jose Bros
    Enrico: Christopher Purves
    Maria: Krassimira Stoyanova
    Il Visconte di Suze: Graeme Broadbent
    Armando di Gondi: Lois Feliz
    De Fiesque: Brindley Sherratt

    Orchestra of the Age of Enlightenment/Sir Mark Elder

  • BERLIOZ 'Benvenuto Cellini' More info  

    Label: Naxos (DVD)

    Release Date: 13 Apr 13

    Philipp Stolzl's production from the Salzburg Festival

    Benvenuto Cellini: Burkhard Fritz
    Teresa: Maija Kovalevska
    Fieramosca: Laurent Naouri
    Giacomo Balducci: Brindley Sherratt
    Pope Clemens VII: Mikhail Petrenko
    Ascanio: Kate Aldrich
    Pompeo: Adam Plachetka

    Vienna Philharmonic Orchestra/Valery Gergiev

  • BELLINI 'Il Pirata' More info  

    Label: Opera Rara

    Release Date: 15 Apr 13

    Ernesto: Ludovic Tézier
    Imogene: Carmen Giannattasio
    Gualtiero: Jose Bros
    Itulbo: Mark Le Brocq
    Goffredo: Brindley Sherratt
    Adele: Victoria Simmonds

    London Philharmonic Orchestra/David Parry

  • VERDI 'A Masked Ball' More info  

    Label: Chandos

    Release Date: 12 Nov 12

    Gustavus III: Dennis O’Neill
    Count Anckarstroem: Anthony Michaels-Moore
    Amelia: Susan Patterson
    Ulrike: Jill Grove
    Oscar: Linda Richardson
    Count Ribbing: Christopher Purves
    Count Horn: Brindley Sherratt

    London Philharmonic Orchestra/David Parry

  • HANDEL 'Serse' More info  

    Label: Chandos

    Release Date: 28 Aug 13

    Serse: Anna Stephany
    Arsamene: David Daniels
    Amastre: Hilary Summers
    Ariodate: Brindley Sherratt
    Romilda: Rosemary Joshua
    Atalanta: Joélle Harvey
    Elviro: Andreas Wolf

    Early Opera Company/Christian Curnyn

  • ELGAR 'The Apostles' More info  

    Label: Hallé Live

    Release Date: 31 Dec 12

    Soprano: Rebecca Evans
    Mezzo-soprano: Alice Coote
    Tenor: Paul Groves
    Baritone: Jacques Imbrailo
    Bass: Brindley Sherratt
    Bass: David Kempster

    Hallé Orchestra/Sir Mark Elder

  • BEETHOVEN 'Missa Solemnis' More info  

    Label: EuroArts (DVD)

    Release Date: 31 Oct 11

    Soprano: Tamara Wilson
    Mezzo-soprano: Elizabeth Deshong
    Tenor: Nikolai Schukoff
    Bass: Brindley Sherratt

    Chamber Orchestra of Europe/John Nelson

  • HANDEL (arr. MENDELSSOHN) 'Acis & Galatea' More info  

    Label: Nimbus Records

    Release Date: 01 Nov 12

    Acis: Benjamin Hulett
    Galetea: Jeni Bern
    Polyphemus: Brindley Sherratt

    Christ Church Cathedral Choir
    Oxford Philomusica/Stephen Darlington

  • BERLIOZ 'Les Troyens' More info  

    Label: Opus Arte (DVD)

    Release Date: 30 Sep 13

    David McVicar's production from the Royal Opera House, Covent Garden

    Cassandre: Anna Caterina Antonacci
    Énée: Bryan Hymel
    Didon: Eva-Maria Westbroek
    Narbal: Brindley Sherratt

    Orchestra of the Royal Opera House/Sir Antonio Pappano

  • BRITTEN 'Gloriana' More info  

    Label: Opus Arte (DVD)

    Release Date: 25 Nov 13

    Richard Jones' production from the Royal Opera House, Covent Garden

    Elizabeth I: Susan Bullock
    Essex: Toby Spence
    Mountjoy: Mark Stone
    Lady Rich: Kate Royal
    Blind Ballad Singer: Brindley Sherratt

    Orchestra of the Royal Opera House/Paul Daniel

  • VERDI 'Macbeth' More info  

    Label: Chandos Records

    Release Date: 31 Mar 14

    Macbeth: Simon Keenlyside
    Lady Macbeth: Latonia Moore
    Banquo: Brindley Sherratt

    English National Opera Orchestra/Edward Gardner

  • 25 Jun 17 Britten Billy Budd
    Opera North at the Aldeburgh Festival
    More info  

    “The joker in the pack – no, joker is definitely the wrong word – was the addition of Brindley Sherratt’s matchless Claggart to the company. The great British bass, still currently on Baron Ochs duty for WNO, revisited the role with which he scorched Glyndebourne’s earth in its revival production and delivered a performance of staggering presence and baleful intent. Herman Melville’s master-at-arms is a creation of pure evil, more a brother than a cousin to Otello’s Iago, and Sherratt’s interpretation of it was a masterclass in malignity and power.”
    Mark Valencia, Bach Track, 25 June 2017

    “Brindley Sherratt’s superbly sung John Claggart is more austere than villainous, embittered by the knowledge of what he can’t have.”
    Hannah Nepil, Financial Times, 27 June 2017

  • 05 Jun 17 Strauss Der Rosenkavalier
    Welsh National Opera
    More info  

    “Brindley Sherratt did a fine job of turning [Ochs] into a boorish, comedic bumpkin with some particularly fine lower notes.”
    Rebecca Franks, The Times, 06 June 2017

    “Sherratt’s portrayal-brilliantly sung and also a role debut-was all the better for not being overly vulgar, instead suggesting Och’s sense of entitlement.”
    Rian Evans, Opera, August 2017

    “Brindley Sherratt is superb as the lecherous, arrogant Ochs; in an unusually nuanced reading of the role, it’s his very sense of entitlement that signals the death knell of an already outdated social hierarchy.”
    Steph Power, Opera News, July/August 2017

    “More arresting were the delicious Louise Alder as an adorably ardent Sophie and in particular Brindley Sherratt as a Baron Ochs quite brutally repellent in his spivvy venality but never caricatured and always crisply projected.”
    Rupert Christiansen, The Telegraph, 05 June 2017

    “The great bass Brindley Sherratt was on splendid form as the boorish Baron Ochs, an enormous role of impossible prolixity that he’ll reprise next summer when Glyndebourne revives Richard Jones’s production.”
    Mark Valencia, What’s on Stage, 05 June 2017

    “Brindley Sherratt’s Ochs, on the other hand, is not quite the usual scruff, but a decayed squire in check trousers and Loden coat. His rustic patter is fluent-sounding, though not heavily accented, and the voice is a strong bass, with a solid low E at the end of Act 2.”
    Stephen Walsh, The Arts Desk, 13 June 2017

    “With Brindley Sherratt as the overbearing and lecherous Baren Ochs (whose green frock coat and check trousers brought to mind Toad of Toad Hall), this new production scores a real winner. He inhabited the role with ease (shirt dangling from his fly in Act II), taking this demanding role in his stride, and certainly being vocally luxuriant – particularly in his lowest register.”
    David Truslove, Bachtrack, 06 June 2017

    “Brindley Sherratt’s portrayal of the thwarted Baron Ochs – as oafish as his name – is not as crude a caricature as some, and he rightly made his excellent bass the focus of attention.”
    Rian Evans, The Guardian, 05 June 2017

    “…Baron Ochs (a superb Brindley Sherratt)…”
    Steph Power, The Stage, 05 June 2017

     

  • 25 Apr 17 John Adams Dr Atomic
    BBC Symphony Orchestra/Adams
    More info  

    “Brindley Sherratt was an ominous presence as the scientist Edward Teller”
    Hannah Nepil, Financial Times, 26 April 2017

    “…excellent support from Brindley Sherratt…”
    Rupert Christiansen, The Telegraph, 26 April 2017

    “…the Hungarian Edward Teller (an inspiration for Dr Strangelove) and Robert Wilson – characterfully sung by Brindley Sherratt and Andrew Staples – express their differing anxieties.”
    Fiona Maddocks, The Guardian, 28 April 2017

    “Brindley Sherratt brought his imposing bass to the part of the scientist Edward Teller”
    David Karlin, Bachtrack, 26 April 2017

    “Andrew Staples and Brindley Sherratt showed some grit as doubting and bullish physicists respectively”
    Neil Fisher, The Times, 27 April 2017

    “Brindley Sherratt was on excellent form as Edward Teller, his firm bass resonating around the hall”
    Sam Smith, MusicOMH, 25 April 2017

    “Joining Oppenheimer as an absolute equal of vocal excellence was Brindley Sherratt’s Edward Teller, Sherratt’s every word perfectly enunciated, his voice superbly focused.”
    Colin Clarke, Scene and Heard, 28 April 2017

     

  • 08 Feb 17 Britten Billy Budd
    Teatro Réal, Madrid
    More info  

    “Brindley Sherratt imbued his Claggart with a booming, strong evil worthy of a Scarpia.”
    Roberto Herrscher, Opera News, June 2017

    “Brindley Sherratt’s Claggart was an absolute triumph. He steers clear of the obvious temptation of playing the violent villain and conceives Claggart as an ordinary man capable of the worst depravity. He depicted this sombre banality with careful and never too emphatic phrasing.”
    Fernando Remiro, Bachtrack, 06 February 2017 

  • 23 Nov 16 Puccini Manon Lescaut
    Metropolitan Opera, New York
    More info  

    “…the excellent support of Christopher Maltman’s Lescaut and Brindley Sherratt’s Geronte…”
    Corinna da Fonseca-Wollheim, New York Times, 15 November 2016 

    “Brindley Sherratt lent his imposing, gravelly bass to the role of Geronte, the powerful lech who seduces Manon. This is not a part with much nuance, but he dominated the stage with his malicious bearing.”
    Eric C. Simpson, New York Classical Review, 15 November 2016 

    “Brindley Sherratt’s big, mean bass was perfect for the slick Geronte.”
    Robert Levine, Bachtrack, 15 November 2016 

  • 06 Jun 16 Tchaikovsky Eugene Onegin
    Garsington Opera
    More info  

    “Brindley Sherratt brought great sympathy and great resonance to his solo as Prince Gremin. There were no novelties, and no shocks, simply a superbly musical performance done in the context of a very fine dramatic performance.”
    Robert Hugill, Opera Today, 04 June 2016

    “Prince Gremin is a bit of a steal. Appearing in Act III, he gets to sing one of the most gorgeous arias in all Russian opera and that’s his work done. Brindley Sherratt was the perfect cat burglar, his rich bass enveloping the audience in a warm bath of tone – sheer class.”
    Mark Pullinger, Bachtrack, 04 June 2016 

    “Brindley Sherratt brings dignity and heartfelt bass tone to her elderly husband, Prince Gremin.”
    George Hall, The Stage, 06 June 2016

    “Brindley Sherratt is an affecting Prince Gremin.”
    Richard Morrison, The Times, 06 June 2016

    “Brindley Sherratt  [is] particularly worth mentioning in the role of Prince Gremin, the retired general whom Tatyana marries. He only has one major aria in the opera, but delivers it beautifully.”
    William Hartston, Express, 17 June 2016

    “…Brindley Sherratt an imposing Prince Gremin…”
    Stephen Pritchard, The Guardian, 19 June 2016

  • 23 May 16 Debussy Pelléas et Mélisande
    Opernhaus Zurich
    More info  

    “Autoritär und selbstbewusst agiert Brindley Sherratt als unbestrittenes Familienoberhaupt Arkel, setzt seinen markanten, stimmgewaltigen Bass Ehrfurcht erregend (und manchmal auch mitfühlend „Si j’étais Dieu, j’aurais pitié des hommes…“ ) ein.”
    Kaspar Sannemann, Oper Aktuell, 08 May 2016

    “British bass Brindley Sherratt is excellent as Arkel and has the best arias, bringing Gurnemanz to mind with his wise and kindly philosophical remarks. He also looks and acts the part with distinction.”
    John Rhodes, Seen and Heard, 10 May 2016 

    “Dafür tritt nun König Arkel in Aktion, der zuvor mit krummem Rücken und zu hohem Hosenbund den psychotherapeutischen Ruhestand abgesessen hatte: Brindley Sherratt gibt sich darstellerisch mühelos ein paar Jahrzehnte älter, als er ist, sein charismatischer Bass klingt wie revitalisiert von der neuen Herausforderung.”
    Susanne Kübler, Die Welt, 15 May 2016 

  • 16 Feb 16 Puccini Manon Lescaut
    Metropolitan Opera, New York
    More info  

    “[Geronte] a role sung here by the coolly commanding bass Brindley Sherratt.”
    Anthony Tommasini, New York Times, 13 February 2016

    “Brindley Sherratt’s Geronte, Manon’s protector, was memorable in his crisp bass.”
    Ako Imamura, Bachtrack, 14 February 2016 

    “The supporting cast was dominated by Brindley Sherratt, brilliantly sinister as lusty old Geronte.”
    Martin Bernheimer, Financial Times, 15 February 2016

    “Brindley Sherratt a strong, chilly Geronte.”
    Heidi Waleson, The Wall Street Journal, 16 February 2017 

    “…the English bass Brindley Sherratt is suitably pompous as Geronte.”
    Wilborn Hampton, The Huffington Post, 16 February 2016  

    “…the masterful Geronte of Brindley Sherratt…”
    F. Paul Driscoll, Opera News, May 2016

  • 03 Nov 15 Berg Wozzeck
    Lyric Opera of Chicago
    More info  

    “Brindley Sherratt was both amusing and unsettling in the role of the Doctor, the officious quack who uses Wozzeck as a subject for his experiments and obsessive elimination and diet remedies (“Eat your beans, Wozzeck!”). The British bass’s voice was sonorous and penetrating.”
    Lawrence A. Johnson, Chicago Classical Review, 02 November 2015

    “Brindley Sherratt, the British bass, brings just the right twisted, career-driven energy to the Doctor, a man hellbent on securing his immortality by way of torturous experiments on Wozzeck.”
    Hedy Weiss, Chicago Sun Times, 01 November 2015

    “The bass Brindley Sherratt, as the Doctor, is the standout among subsidiary roles.”
    George Loomis, Financial Times, 03 November 2015 

    “We witness poor Wozzeck as he submits to hideous experiments by a doctor who is hoping to cash in on Wozzeck’s eagerly wished for insanity. (British bass Brindley Sherratt is gallows funny in his predeliction for sharing the details of other pathetic specimens, described with loving pride.)”
    Nancy Malitz, Chicago on the Aisle, 03 November 2015 

    “The self-important Doctor (turned with well-gauged nervousness and deceptive vocal finesse by bass Brindley Sherratt).”
    Lawrence B. Johnson, Classical Voice America, 04 November 2015 

    “…the self-important Doctor (turned with well-gauged nervousness and deceptive vocal finesse by bass Brindley Sherratt)…”
    Lawrence B. Johnson, Classical Voice America, 04 November 2015 

    “[Wozzeck’s]character was complimented by Brittish bass Brindley Sherratt, who examined the hapless Wozzeck through a huge magnifying glass in his Dr Frankenstein-like laboratory.”
    John von Rhein, Opera, January 2016

  • 07 Jul 15 Britten A Midsummer Night's Dream
    Festival d'Aix-en-Provence
    More info  

    “Brindley Sherratt’s impeccable Bottom…Sherratt’s star quality is a special bonus, of course. Was there ever a more mellifluous Bottom? His rich, finely controlled singing lends distinction and subtlety to every scene he’s in, ass head on or off.”
    Mark Valencia, Bachtrack, 06 July 2015 

    “les artisans, emmenés par ce fanfaron de Bottom, alias Brindley Sherratt…”
    Martine D. Mergeay, La Libre, 05 July 2015 

    “Michael Slattery (Flute) est hilarant en Thisbé, tout comme le Pyrame/Bottom hyper-expansif de Brindley Sherratt.”
    Chantal Cazaux, L’Avant-Scène Opéra, 09 July 2015

    “Brindley Sherratt est un Bottom sans exubérance excessive mais très en voix, entouré d’une réjouissante troupe d’artisans.”
    Laurent Bury, Forumopera, 10 July 2015 

    “Le sextuor des artisans, emmené avec panache par le Bottom cabotin comme il se doit de Brindley Sherratt, fait mourir de rire l’assistance au dernier acte.”
    Jean-Luc Clairet, Resmusica, 13 July 2015 

    “Bottom was sung by British bass Brindley Sherratt with welcomed authority and wit.”
    Michael Milenski, Opera Today, 21 July 2015 

    “…the pompous and gravely voiced Bottom of bass Brindley Sherratt…”
    Stephen J. Mudge, Opera News, October 2015

  • 06 May 15 Stravinsky The Rake's Progress
    Metropolitan Opera, New York
    More info  

    “Bass Brindley Sherratt made his Met Opera debut as Anne’s father, and sounded great with an easy charm.”
    George Grella, New York Classical Review, 02 May 2015

    “Brindley Sherratt grumbled with fine urgency and a Sarastro-worthy basso in the plaints of Trulove Senior.”
    Martin Bernheimer, Financial Times, 04 May 2015

    “In his Met debut as Anne Trulove’s censorious father, the bass Brindley Sherratt, makes a worthy impression.”
    David Finkle, Huffington Post, 03 May 2015

    “Brindley Sherratt brought his strong bass to Trulove – a welcome return to New York after last year’s powerful portrayal of Claggart in Glyndebourne’s Billy Budd.”
    David M. Rice, Classical Source, 01 May 2015

    “As Anne Trulove’s father, Brindley Sherratt sounded poised, protective, and steady in his Met debut.”
    Rebecca Lentjes, Bachtrack, 03 May 2015

    “As Anne Trulove’s father, Brindley Sherratt sounded poised, protective, and steady in his Met debut.”
    Rebecca Lentjes, Bachtrack, 03 May 2015

    “Brindley Sherratt is fittingly imposing as Anne’s father.”
    Ronni Reich, New Jersey Star-Ledger, 08 May 2015

    “Brindley Sherratt struck a strong presence in his Met Opera debut as Anne’s father Trulove. His sang with tenderness and expressed a sense of overprotection of his daughter. Even his opening exchange with Tom, in which he tells Tom that he will not have her marry a lazy man, was filled with an ominous tone that clearly set the two men at odds.”
    David Salazar, Latin Post, 10 May 2015

    “Brindley Sherratt made a properly disapproving Trulove.”
    John Rockwell, Opera, July 2014

  • 28 Nov 14 Handel Messiah
    Handel & Haydn Society/Harry Christophers
    More info  

    “No performance of Messiah would be complete without a robust bass, and H&H’s performance Friday night provided one in Brindley Sherratt. His recitative ‘Thus sayeth the Lord’ was earth-shaking in its power and declamation. Solid in all of his moments of the oratorio, the singer found the palpable foreboding in ‘For behold, darkness shall cover the earth’ and his voice swelled with intensity to complement Jesse Levine’s brilliant trumpet playing in ‘The trumpet shall sound,’ the phrases carrying the emotional strength of a preacher’s Sunday sermon.”
    Aaron Keebaugh, Boston Classical Review, 29 November 2014 

    “The soloists excelled in conveying the message of Charles Jennens’s libretto… Bass Brindley Sherratt held his score by his side and glared at the audience like an Old Testament prophet. He sang with that kind of authority too, cutting through Levine and Perfetti with no difficulty in “And the trumpet shall sound.” ”
    Jeffrey Gantz, Boston Globe, 01 December 2014 

  • 15 Sep 14 Verdi Rigoletto
    Royal Opera House, Covent Garden
    More info  

    “It would be hard to imagine a more black-hearted assassin than Brindley Sherratt’s baleful Sparafucile”
    Mark Valencia, What’s on Stage, 13 September 2014

    “Brindley Sherratt [was] satisfyingly full voiced…”
    Mark Pullinger, Bachtrack, 13 September 2014

    “Brindley Sherratt was a suitably dark-voiced Sparafucile.”
    Tully Potter, Classical Source, 12 September 2014

    “Brindley Sherratt’s Sparafucile [is] powerfully delineated.”
    Michael Church, The Independent, 15 September 2014

    “Brindley Sherratt’s tried and tested, jet-black Sparafucile remains outstanding.”
    David Gutman, The Stage, 15 September 2014

    “Brindley Sherratt’s black, oily bass lavished more classy singing on the homicidal Sparafucile than the thug probably deserved.”
    Steve Silverman, Opera Britannia, 15 September 2014

    “…excellent support from British bass Brindley Sherratt as the assassin Sparafucile.”
    William Hartston, Daily Express, 16 September 2014

    “…Brindley Sherratt’s Sparafucile stand[s] out…”
    Fiona Maddocks, The Guardian, 21 September 2014

  • 19 May 14 Verdi Macbeth
    Orchestra of the English National Opera/Gardner (Chandos CD, 2014)
    More info  

    “Brindley Sherratt’s noble bass helps him draw a Banquo of considerable distinction, his aria shortly before his assassination a genuine highlight of the set.”
    George Hall, BBC Music Magazine, June 2014

    “Brindley Sherratt as a sonorous, imposing Banquo; his duets with Keenlyside are immaculately phrased, their voices always synchronised.”
    Ralph Moore, Musicweb International, 2014

    “Brindley Sherratt’s baleful Banquo [is a] positive asset.”
    Rupert Christiansen, The Telegraph, 24 April 2014

  • 12 Apr 14 Elgar The Apostles
    BBC Symphony Orchestra/Sir Andrew Davis
    More info  

    “Judas was clearly the character that most fascinated Elgar, and it’s largely through his increasing importance as the work goes on that it acquires the coherence and momentum that are noticeably lacking in the early sections, and which provides its fierce climax with his death. It’s also the most rewarding role to sing, and Brindley Sherratt, direct and communicative, certainly made the most of the opportunities that provided.”
    Andrew Clements, The Guardian, 13 April 2014

    “Brindley Sherratt’s Judas skillfully mixed cynicism, covetousness, shame, and despair and Davis really nailed the monstrous black chord that precedes Judas‘ descent into oblivion. How chillingly Sherratt’s final note evoked impenetrable darkness.”
    Edward Seckerson, The Arts Desk, 13 April 2014

    “And the Judas.  Thank goodness we had Brindley Sherratt, a bass more than up to the challenge of the intellect, the inner passion and the torment of the man as Elgar portrays him.  This was the performance of the evening.”
    Hilary Finch, The Times

    “Brindley Sherratt and Gerald Finley were no less outstanding musically as Judas and Peter respectively. But there was a more evident human search on their part, especially in Sherratt’s more declamatory style and in his probing Hamlet-like soliloquy upon the fate of man after Judas betrays Jesus. There was also a wearied maturity in Sherratt’s realisation that reminded of Kurt Moll as Gurnemanz.”
    Curtis Rogers, Classical Source, 12 April 2014

  • 17 Feb 14 Britten Billy Budd
    Brooklyn Academy of Music (Glyndebourne Festival on Tour)
    More info  

    “…the mysterious master-at-arms John Claggart, here the chilling, earthy bass Brindley Sherratt.”
    Anthony Tommasini, New York Times, 09 February 2014

    “Sheratt’s Claggart is so strong he seemed to provoke a few amusing hisses at the roof-rattling curtain call.”
    David Finkle, Huffington Post, 17 February 2014

    “John Claggart…sung by Brindley Sherratt with a dark bass voice suggesting that he’s a Fafner in training.”
    David Patrick Stearns, WQXR, 10 February 2014

    “Brindley Sherratt’s powerful and complex characterization of Claggart…  Sherratt’s penetrating bass voice never flagged in the long-sustained notes that end many of his phrases. His character’s sadism was matched only by the smugness and self-assurance with which he falsely accused Budd of insubordination, treason and mutiny.”
    David M. Rice, Classical Source, 09 February 2014

    “Brindley Sherratt, a superb Claggart, brought out the character’s similarity to Hagen, especially when delivering lines chillingly in even, uninflected tones, as Wagner’s villain does in his Watch.”
    George Loomis, Opera, April 2014

  • 20 Nov 13 Mozart Die Zauberflöte
    Wiener Staatsoper
    More info  

    “Brindley Sherratt verleiht dem Sarastro markante Basstöne.”
    Christoph Irrgeher, Wiener Zeitung, 18 November 2013

    “…machtvollen Bass Brindley Sherratt…”
    Wilhelm Sinkovicz, Die Presse, 18 November 2013

    “Brindley Sherratt, als Sarastro singt ihn mit weicher, profunder Tiefe.”
    Helmut Christian Mayer, Opernnetz, 18 November 2013

    “Sarastro (Brindley Sherratt, with a clear-cut timbre) appeared on stilts , towering over his mobster-like entourage.”
    Gerhard Persche, Opera, March 2014

  • 12 Aug 13 Britten Billy Budd
    Glyndebourne Festival Opera
    More info  

    “[Billy’s] nemesis is Brindley Sherratt, transcending his usual level of excellence to create a Claggart whose malevolence is all the more chilling for being so contained and purposeful. The word ‘love’ can rarely have sounded nastier than it does in his mouth.”
    Rupert Christiansen, The Telegraph, 12 August 2012

    “There’s no doubting the sinister force of Brindley Sherratt’s Claggart however, whose menacing physicality is offset by the beauty of his tone. His villain is all the more potent for his musical appeal, incongruous to magnificent effect in a moment such as his ‘Let him crawl,’ of the recently-beaten Novice”
    Alexandra Coghlan, The Arts Desk, 11 August 2013

    “Brindley Sherratt was making his role debut as Claggart, singing with incisive phrasing and glowering menace; his paean to beauty can seldom have sounded so threatening.”
    Melanie Eskenazi, Music OMH, 11 August 2013

    “The central characters are peerlessly played. We watch the evolution of Brindley Sherratt’s satanic Claggart as he stifles the sexual attraction he feels for his victim…”
    Michael Church, The Independent, 12 August 2013

    “Brindley Sherratt’s magnetic performance as the master-at-arms Claggart. His attraction to the handsome and innocent new recruit Billy Budd is barely articulated in the text, and yet in this performance we sense it’s the chink in Claggart’s armour that is the key to a deep self-loathing.”
    Edward Bhesania, The Stage, 12 August 2013

    “Brindley Sherratt is evil-personified as Claggart – prowling the stage menacingly and unwavering in his desire to destroy Billy Budd. His voice is as black as his soul, a nihilistic Iago-like character who also exudes ‘motiveless malignancy’ from every pore.”
    Keith McDonnell, What’s on Stage, 12 August 2013

    “Brindley Sherratt sings Claggart, the sadistic sergeant-at-arms whose passion for Billy leads to a twisted need to destroy him, the deep resonances of his sepulchral bass matching the malevolent physicality of an interpretation that retains a painfully self-hating humanity while outlining a full-scale demonic being.”
    George Hall, The Guardian, 12 August 2013

    “Britten’s music is often sublime: Brindley Sherratt summoned up the combination of cantabile beauty and patent evil.”
    David Karlin, Bachtrack, 11 August 2013

    “Brindley Sherratt’s strongly sung Claggart, who is more convincing than his predecessor as the Devil on earth and manages to prowl the deck without degenerating into a comic-book villain.”
    Richard Fairman, Financial Times, 12 August 2013

    “Brindley Sherratt had to depict one of the most unpleasant characters in the whole of opera. Melville originally saw Claggart as a malign character lacking any discernible motive in the Iago or Scarpia mould but Crozier and Britten added additional layers of complexity. Sheratt really took us into the heart of darkness in the aria, ‘Oh beauty, oh handsomeness, goodness’ with the self-loathing and sexual sadism of the character spilling out. He seemed to find just the right balance between menace and creepy seductiveness.”
    Robert Beattie, Seen and Heard, 12 August 2013

    “Brindley Sherratt is quite superb as the evil Claggart, whose combination of envy and suppressed lust for Billy Budd makes him determined to have the young man put to death.”
    William Hartston, Daily Express, 13 August 2013

    “The formidable Brindley Sherratt, meanwhile, is granite-like and baleful as Claggart, the HMS Indomitable’s loathed (and loathsome) Master-at-Arms. Sherratt’s very stillness is fearsome, as is the dark hue with which he colours his resonant bass timbre.”
    Mark Valencia, Classical Source, 14 August 2013

    “It’s Sherratt, though, who gives this revival an extra kick. Conniving evil drips from each syllable, even his baldness becomes malevolent.”
    Geoff Brown, The Times, 14 August 2013

    “Brindley Sherratt’s Claggart demonstrated his ability to personify the evil in this twisted character.”
    Michael Kennedy, Opera, October 2013

  • 20 Jun 13 Britten Gloriana
    Royal Opera House, Covent Garden
    More info  

    “Brindley Sherratt’s Blind Ballad Singer is a superb cameo.”
    Andrew Clements, The Guardian, 21 June 2013

    “…there are notably strong contributions from the lower voices of Mark Stone (Mountjoy) [and] Brindley Sherratt (Ballad Singer)”
    Rupert Christiansen, The Telegraph, 21 June 2013

    “Brindley Sherratt has just one scene as the Blind Ballad-Singer, but his deep bass voice, with its exquisite mastery of dynamic variation, leaves an impression that far exceeds the size of his role.”
    Sam Smith, Music OHM, 23 June 2013

    “Brindley Sherratt was exceptional in the role [of the Blind Ballad Singer]”
    Mark Valencia, Classical Source, 22 June 2013

    “Brindley Sherratt makes a tour de force cameo appearance as the Blind Ballad-Singer.”
    Keith McDonnell, What’s on Stage, 24 June 2013

    “…a vivid cameo as the Blind Ballad-Singer…”
    John Allison, Opera, August 2013

    “Brindley Sherratt is luxury casting as the blind ballad-singer.”
    Clive Paget, Limelight, 06 July 2013

    “…the Blind Ballad Singer Brindley Sherratt[‘s] voice carried magnificently in all parts of the house.”
    Mike Reynolds, Musical Criticism, 02 July 2013

  • 16 Apr 13 Mozart Die Zauberflöte
    Royal Opera House, Covent Garden
    More info  

    “Brindley Sherratt’s Sarastro is one of the best this production has seen. Every note is there, in measured, authoritative, yet tender tones.”
    Hilary Finch, The Times, 17 April 2013

    “The wonderfully authoritative Brindley Sherratt as Sarastro.”
    Metro, 18 April 2013

    “Brindley Sherratt’s finely dignified and down-to-earth Sarastro.”
    Simon Thomas, What’s on Stage, 17 April 2013

    “Brindley Sherratt’s Sarastro remained still and serene…”
    Hannah Sander, Classical Source, 17 April 2013

    “Brindley Sherratt shines as Sarastro with his sumptuous bass voice…”
    Sam Smith, Music OHM, 18 April 2013

    “His voice is the perfect weight for the role and he plumbs the vocal depths without problems. ‘O Isis und Osiris’ was particularly beautiful. Following on from his excellent Creon in the ENO Medea, Sherratt is having a very successful season indeed.”
    Sebastian Petit, Opera Britannia, 17 April 2013

  • 12 Apr 13 Handel (arr. Mendelssohn) Acis and Galatea
    Oxford Philomusica/Darlington (Nimbus CD, 2013)
    More info  

    “In ‘O ruddier than the cherry’, Brindley Sherratt (Polyphemus) is on stupendous form.”
    Malcolm Riley, Gramophone, March 2013

  • 15 Feb 13 Charpentier Médée
    English National Opera
    More info  

    “Brindley Sherratt’s superb, pompous King Creon.”
    Richard Morrison, The Times, 17 February 2013

    “Accomplished singing from Brindley Sherratt [as] Creon.”
    Rupert Christiansen, The Telegraph, 17 February 2013

    “…the imposing Brindley Sherratt…”
    Matthew Ingleby, Play to See, 16 February 2013

    “The ever-resonant bass of Brindley Sherratt oozed vocal velvet as Creon, King of Corinth.”
    Mark Valencia, Classical Source, 16 February 2013

    “Brindley Sherratt’s warm bass in the role of Creon…”
    Julia Savage, Bachtrack.com, 18 February 2013

    “Brindley Sherratt putting in a fine performance as Creon.”
    William Hartston, The Express, 18 February 2013

    “Creon (Brindley Sherratt, outstanding) is an army commanding officer.”
    Andrew Clark, Financial Times, 18 February 2013

    “Brindley Sherratt’s sonorous Creon was, as ever, gratifyingly direct.”
    Erica Jeal, Opera, April 2013

  • 21 Jan 13 Beethoven Fidelio
    Glyndebourne Festival Opera
    More info  

    “Rocco…comes across as a more important player here, thanks to Brindley Sherratt’s compelling portrayal of a man caught between good and evil.”
    Richard Fairman, The Financial Times, 06 July 2006

    “…a sympathetic and nicely detailed performance from Brindley Sherratt.”
    Hilary Finch, The Times, 06 July 2006

    “The supporting cast is excellent too, especially Brindley Sherratt…”
    Warwick Thompson, Bloomberg News, 07 July 2006

    “…exquisitely sung by Sherratt…”
    Anna Picard, The Independent, 11 July 2006

    “Brindley Sherratt’s Rocco has the low notes as well as the acting skills on which this kind of reworking relies.”
    David Gutman, The Stage, 06 July 2006

    “The playing was superb and the singing strength impressive: Brindley Sherratt’s Priam doughty and world-weary.”
    Paul Driver, The Sunday Times, 03 June 2012

    “Brindley Sherratt portrays the jailer Rocco with subtle depth.”
    John Allison, The Telegraph, 15 July 2006

  • 25 Jun 12 Berlioz Les Troyens
    Royal Opera House, Covent Garden
    More info  

    “Brindley Sherratt makes an excellent Narbal”
    Andrew Clark, Financial Times, 26 June 2012

    “[A] fine contribution from Brindley Sherratt as a gnarled old Narbal”
    Andrew Clements, The Guardian, 26 June 2012

    “[An] outstanding cameo from Brindley Sherratt as wise old Narbal”
    John Allison, The Telegraph, 29 June 2012

    “…strong support from Brindley Sherratt (Narbal)”
    Anna Picard, Independent on Sunday, 01 July 2012

    “[An] admirable contribution from Brindley Sherratt, whose Narbal is notable for its mellifluous gravitas…”
    Barry Millington, The Evening Standard, 26 June 2012

  • 08 Jun 11 Verdi Simon Boccanegra
    English National Opera
    More info  

    “Best of all was Brindley Sherratt, whose Fiesco was from start to agonized finish a tour de force of precise diction, musical sensitivity and dramatic intensity.”
    Roger Parker, Opera, August 2011

    “The star for me easily, and throughout the evening was Brindley Sherratt’s easy bass hitting every note and every mood with the precision of an exocet.  His Fiesco was strong, brooding and so right.”
    Christopher Monk, Musical Opinion, September/October 2011

    “A superb performance from Brindey Sherratt as Fiesco, displaying a rich, powerful and well-focused bass.”
    Keith Clarke, Musical America, 10 June 2011

    “Brindley Sherratt is a properly authoritative Fiesco.”
    Rupert Christiansen, the Telegraph, 10 June

    “…top of the pile vocally, was ENO stalwart Brindley Sherratt, whose Fiesco was powerful and fabulously resonant. Unusually sympathetic even in the Prologue.  Sherratt was most poignant in the final act, particularly in heart-rending duet with the dying Boccanegra.”
    Flora Willson, Musical Criticism, 09 June 2011

    “Brindley Sherratt’s outstanding Fiesco has a voice gravid with festering anguish.”
    Barry Millington, The Evening Standard, 09 June 2011

    “Top-notch Verdi singing [from] stalwart bass Brindley Sherratt as patrician Fiesco.”
    David Nice, The Art’s Desk, 09 June 2011

    “Sherratt’s inky-black bass seeps into Fiesco’s darkest internal recesses.”
    George Hall, The Guardian, 09 June 2011

    “Brindley Sherratt displayed wonderful vocal control and clarity as Boccanegra’s sworn enemy, Jacopo Fiesco.”
    William Hartston, Daily Express, 16 June 2011

    “The most effective contribution comes from Brindley Sherratt’s Fiesco, whose bass sounds authentically Verdian.”
    Andrew Clark, Financial Times, 09 June 2011

    “Brindley Sherratt [is on] top form.”
    Warwick Thompson, Bloomberg, 10 June 2011

  • 19 Jun 10 Wagner Die Meistersinger von Nürnburg
    Welsh National Opera
    More info  

    “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 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

  • 24 Jan 09 Wagner Tristan und Isolde
    Swedish Radio Symphony Orchestra/Harding
    More info  

    “The intense sounding bass of Brindley Sherratt (King Marke) constituted excellence in this musical dramatic triumph.”
    Thomas Anderberg, Dagens Nyheter, 26 February 2009

    “Brindley Sherratt supplied us with the most intense sections, especially due to the bass clarinet contributions.”
    Lars Sjöberg, Expressen, 25 February 2009

Repertoire

ADAMS
Doctor Atomic (Edward Teller)

BACH
St. Matthew Passion
St. John Passion

BEETHOVEN
Fidelio (Rocco)
Missa Solemnis
Symphony no. 9

BELLINI
Il Pirata (Gofredo)

BERLIOZ
Benvenuto Cellini (Pope Clement VII)
L’enfance du Christ (Herod)
Les Troyens (Narbal)

BRAHMS
Ein deutsches Requiem

BRITTEN
Albert Herring (Budd)
Billy Budd (Claggart)
Gloriana (Ballad Singer)
A Midsummer Night’s Dream (Bottom)
Peter Grimes (Hobson / Swallow)
The Rape of Lucretia (Collatinus)

DEBUSSY
Pelléas et Mélisande (Arkel)

DONIZETTI:
Imelda de Lambertazzi (Ubaldo)
Maria di Rohan (Visconte of Suze)

DVORAK
Requiem

JOHNATHAN DOVE
Flight (Immigration Officer)

ELGAR
The Apostles (Judas)
Caractacus (Claudius)

FAURE
Requiem

HANDEL
Acis and Galatea (Polyphemus)
Agrippina (Claudio)
Alcina (Melisso)
Ariodante (Il Re)
Messiah
Judas Maccabeus
Solomon (Levite)
Samson
Semele (Cadmus / Somnus)
Theodora (Valens)

HAYDN
All Masses
The Creation

MONTEVERDI
L’Orfeo (Caronte)
L’incoronazzione di Poppea (Seneca)

MOZART
All Masses
Requiem
Idomeneo (Voce di Nettuno)
Die Entführung aus dem Serail (Osmin)
Don Giovanni (Commendatore / Leporello)
La clemenza di Tito (Publio)
Le nozze di Figaro (Bartolo)
Die Zauberflöte (Sarastro)

MUSSORGSKY
Boris Godunov (Pimen)
Khovanshchina (Dosifei)

ARVO PÄRT
St John Passion (Jesus)

CHARLIE PIPER
Brook Street

PUCCINI
La bohème (Colline)
La fanciulla del West (Ashby)

ROSSINI
Il barbiere di Siviglia (Don Basilio)

ROBERT SAXTON
The Wandering Jew (Mephistopheles)

SCHUMANN
Das Paradies und die Peri (Ein Mann / Gazna)

SHOSTAKOVICH
Symphony no. 13

STRAVINSKY
Pulcinella

STRAUSS
Der Rosenkavalier (Ochs)
Deutsche Motette

TCHAIKOVSKY
Eugene Onegin (Gremin)

TIPPETT
A Child of our Time
King Priam (title role)

WEILL
Rise and Fall of the City of Mahagonny (Alaskawolfe Joe)

VERDI
Aida (Ramfis)
Don Carlo (Filippo)
Ernani (Silva)
La Forza del destino (Padre Guardiano)
Luisa Miller (Wurm)
Otello (Montano)
Requiem
Rigoletto (Sparafucile)
Simon Boccanegra (Fiesco)
Il Trovatore (Ferrando)

WAGNER
Der Fliegende Holländer (Daland)
Die Meistersinger von Nürnberg (Pogner)
Parsifal (Gurnemantz)
Tristan und Isolde (Marke)
Das Rheingold (Fasolt)

Read Brindley Sherratt’s Interview in The Guardian (01 June 2017): Singing? I’m still trying to get the hang of it