Brindley Sherratt


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 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 Pelléas et Mélisande 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 Nurnberg 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 Fesitval, the Metropolitan Opera, the Openhaus Zurich and the English National Opera.

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News & Features


Doctor Atomic (Edward Teller)

St. Matthew Passion
St. John Passion

Fidelio (Rocco)
Missa Solemnis
Symphony no. 9

Il Pirata (Gofredo)

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

Ein Deutsches Requiem

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

Pelléas et Mélisande (Arkel)

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


Flight (Immigration Officer)

The Apostles (Judas)
Caractacus (Claudius)


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

All Masses
The Creation

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

All Masses
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)

Boris Godunov (Pimen)
Khovanshchina (Dosifei)

St John Passion (Jesus)

Brook Street

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

Il barbiere di Siviglia (Don Basilio)

The Wandering Jew (Mephistopheles)

Das Paradies und die Peri (Ein Mann / Gazna)

Symphony no. 13


Der Rosenkavalier (Ochs)
Deutsche Motette

Eugene Onegin (Gremin)

A Child of our Time
King Priam (title role)

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

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

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

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Media Player


  • WAGNER: Die Meistersinger von Nürnberg



Bristol Old Vic, BRISTOL

HANDEL 'Messiah'

Director: Tom Morris

Soprano: Julia Doyle
Tenor: Joshua Ellicott

The English Concert

Bristol Old Vic, BRISTOL

HANDEL 'Messiah'

Director: Tom Morris

Soprano: Julia Doyle
Tenor: Joshua Ellicott

The English Concert

Bristol Old Vic, BRISTOL

HANDEL 'Messiah'

Director: Tom Morris

Soprano: Julia Doyle
Tenor: Joshua Ellicott

The English Concert

Bristol Old Vic, BRISTOL

HANDEL 'Messiah'

Director: Tom Morris

Soprano: Julia Doyle
Tenor: Joshua Ellicott

The English Concert

Barbican Centre, LONDON

Conductor: John Adams

Dr J. Robert Oppenheimer: Gerald Finley
Kitty Oppenheimer: Julia Bullock
General Leslie Groves: Gidon Saks
Jack Hubbard: Marcus Farnsworth

BBC Singers
BBC Symphony Orchestra

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Billy Budd

Teatro Réal, Madrid

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


Manon Lescaut

Metropolitan Opera, New York

...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


Eugene Onegin

Garsington Opera

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


Pelléas et Mélisande

Opernhaus Zurich

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


Manon Lescaut

Metropolitan Opera, New York

[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



Lyric Opera of Chicago

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


A Midsummer Night's Dream

Festival d'Aix-en-Provence

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


The Rake's Progress

Metropolitan Opera, New York

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



Handel & Haydn Society/Harry Christophers

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



Royal Opera House, Covent Garden

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



Orchestra of the English National Opera/Gardner (Chandos CD, 2014)

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


The Apostles

BBC Symphony Orchestra/Sir Andrew Davis

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


Billy Budd

Brooklyn Academy of Music (Glyndebourne Festival on Tour)

...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


Die Zauberflöte

Wiener Staatsoper

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 Sherrat, 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


Billy Budd

Glyndebourne Festival Opera

[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 Sheratt 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



Royal Opera House, Covent Garden

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


Die Zauberflöte

Royal Opera House, Covent Garden

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

Handel (arr. Mendelssohn)

Acis and Galatea

Oxford Philomusica/Darlington (Nimbus CD, 2013)

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



English National Opera

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,, 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



Glyndebourne Festival Opera

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


Les Troyens

Royal Opera House, Covent Garden

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


Simon Boccanegra

English National Opera

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 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


Die Meistersinger von Nürnburg

Welsh National Opera

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


Tristan und Isolde

Swedish Radio Symphony Orchestra/Harding

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



Mozart: Die Zauberflöte

Simon McBurney's production from the Netherlands Opera

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

Netherlands Chamber Orchestra
Marc Albrecht
Opus Arte

Offenbach: Fantasio

Winner, Best Opera Recording (International Opera Awards)

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

Orchestra of the Age of Englightenment
Sir Mark Elder
Opera Rara

BRITTEN: Gloriana

Richard Jones' production from the Royal Opera House

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

Orchestra of the Royal Opera House
Paul Daniel
Opus Arte (DVD)

Berlioz: Les Troyens

David McVicar's production from the Royal Opera House

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

Orchestra of the Royal Opera House
Sir Antonio Pappano
Opus Arte (DVD)

Handel: Serse

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

Early Opera Company
Christian Curnyn

Berlioz: Benvenuto Cellini

Philipp Stolzl's production from the Salzburg Festival

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

Vienna Philharmonic Orchestra
Valery Gergiev
Naxos (DVD)

Handel: Semele

Rosemary Johsua
Hilary Summers
Stephen Wallace
Brindley Sherratt

Early Opera Company
Christian Curnyn

La Partenza

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

Verdi: A Masked Ball

Dennis O'Neill
Anthony Michaels-Moore
Susan Patterson
Jill Grove
Brindley Sherratt 

London Philharmonic Orchestra
David Parry