Peter Bronder


"Peter Bronder is outstanding, both vocally and dramatically, as Monastatos"

Sam Smith, MusicOMH

"The star is undoubtedly the impish sardonic Loge of Peter Bronder... He sings his music quite magnificently, with incisive diction and an innate sense of the fire god’s irony"

Hugh Canning, The Sunday Times

"At the centre is a performance of considerable power from Peter Bronder as Idomeneo, his body racked with emotion, his voice at once noble and terrified. His coloratura expresses a deep inner anguish"

Tim Ashley, The Guardian

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Peter Bronder studied at the Royal Academy of Music and National Opera Studio, before taking his first engagements at Glyndebourne and Welsh National Opera, where he was engaged as principal tenor in mainly Italian lyric repertoire. He has since moved into the more dramatic, predominantly German repertoire. He has made numerous appearances in the UK at the Royal Opera House Covent Garden, English National Opera, Opera North and Scottish Opera.

In recent seasons, he sang Herod with the Frankfurt Radio Symphony, Iaryzhkin in Barry Kosky’s new production of The Nose at the ROH, and Der Zwerg in a new production for Lisbon Opera, before making his debut with the New York Philharmonic as Mime Das Rheingold. He also returned to Covent Garden as Monostatos Die Zauberflöte, Shabby Peasant Lady Macbeth, joined the Yomiuri Nippon Symphony Orchestra in the role of Le Lépreux Saint François d'Assise, and made his debut at the Opera de Paris as Misail in a new production of Boris Godunov. Engagements that could sadly not take place in 2020 include singing Herod with the Seattle Symphony, and returning for the revival of Boris Godunov in Paris.

Notable engagements include Mime Der Ring des Nibelungen (Teatro alla Scala, Staatsoper Berlin, Liceu Barcelona, Teatro Massimo Palermo), title role in Rienzi (Oper Frankfurt), Herod (Teatro alla Scala, Teatro Real Madrid, Teatro Regio Turin), the title roles in Der Zwerg and Palestrina in Frankfurt, Loge (Edinburgh Festival, Ruhrtriennale, Stuttgart), as well as appearing at the Metropolitan Opera New York, Bayerische Staatsoper Munich, San Francisco Opera, Netherlands Opera, La Monnaie Brussels, Komische Oper Berlin, Flanders Opera, Teatro de la Maestranza Seville, and at the Chatelet Paris.

Concert appearances include the major orchestras in London, Cleveland, Boston, Pittsburgh with eminent conductors including Daniel Barenboim, Christoph von Dohnanyi, Rafael Fruebeck de Burgos, Sir John Eliot Gardiner, Philippe Jordan, Sir Charles Mackerras, Kyril Petrenko and Sebastian Weigle. He has made numerous radio broadcasts, and recorded for Decca, DGG, EMI, Philips, Teldec and Chandos.

This biography is for information only and should not be reproduced.

CD Recording: Wozzeck (Hauptmann)

Oper Frankfurt, OC 974 (July 2018)

Peter Bronder has all the expressivity needed for the Captain (Hauptmann)

Göran Forsling, MusicWeb International

Strong support from Peter Bronder’s grotesque Captain

Michael Quinn, Classical Ear

Peter Bronder and Alfred Reiter are real comedian singers

Avant Scène Opéra

The glaring, jarring captain of good-natured Peter Bronder

Rolf Fath, Opera Lounge

When Peter Bronder as the Captain really gets going, all metaphorical handbrakes are released. He plays his role as if there’s no tomorrow. His articulation is razor sharp, intoned with the certainty of a somnambulist and it’s so wonderfully close to bordering on hysteria that suddenly you understand the tormented Wozzeck, which rarely happens.

Benjamin Künzel,

Lady Macbeth of Mtsensk (Shabby Peasant)

Royal Opera House (April 2018)

Some notable cameos … Wojtek Gierlach as the Priest and Peter Bronder as the Shabby Peasant … offer highlights among the large cast.

Richard Fairman, Financial Times****

Peter Bronder’s sharply etched Shabby Peasant

Roger Parker, Opera Magazine

Peter Bronder makes a vivid Shabby Peasant

Yehuda Shapiro, The Stage****

There are strong cameos … from Peter Bronder as the Shabby Peasant

Peter Reed, Classical Source*****

CD Recording: Salome (Herod)

Frankfurt Radio Symphony (November 2017)

Peter Bronder and Michaele Schuster are a vivid pair as Herod and Herodias

Hugo Shirley, Gramophone​

This Frankfurt Radio recording preserves a gripping live concert performance of the opera … one that needs fear no comparisons with classic versions of the past… Peter Bronder’s neurotic Herod completes the cast of principals

Hugh Canning, The Sunday Times

Peter Bronder’s Herod is a brilliant character-tenor assumption, comprehensively excellent

George Hall, Opera Magazine

Peter Bronder delivers an impressive character study of Herod, and is in full possession of his vocal power, which is not always evident among Herod's performers.

Thomas Lang, das Orchester

Peter Bronder is a fine Herod, his insightful voice dripping with lust

Clive Paget, Limelight

Die Zauberflöte (Monostatos)

Royal Opera House (September 2017)

Peter Bronder’s creepy Monostatos played up the comedy well, blustering well, accompanied by his twinkle-toed periwigged entourage

Mark Pullinger, Bachtrack ****

Peter Bronder is outstanding, both vocally and dramatically, as Monastatos

Sam Smith, MusicOMH

Peter Bronder’s vile Monostatos … would be hard to better. 

George Hall, The Stage

Peter Bronder brought a delicious sense of malevolence to Monostatos. 

Colin Clarke, Seen and Heard International

Add Mika Kares’s booming bass in the role of Sarastro and Peter Bronder’s particularly vile protrayal of the evil Monostatos and it all adds up to a glorious night’s entertainment. 

William Hartston, Express

Das Rheingold (Mime)

New York Philharmonic (June 2017)

So nothing stands in the way of an extraordinary — indeed, flawless — young Anglo-American cast. … In fact, Wagner’s characters all feel human here. … Even the pathetic dwarf Mime (Peter Bronder) is credible.

Zachary Woolfe, New York Times

In his brief apparition as Mime in this Vorspiel to Der Ring des Nibelungen, British tenor Peter Bronder sang with dignity, avoiding the distorted vocal utterances sometimes associated with the character.

Edward Sava-Segal, Bachtrack *****

Peter Bronder was an unusually sympathetic Mime, achieving a real pathos in his wincing pleas. 

Eric C. Simpson, New York Classical Review

Peter Bronder as Mime, Alberich’s subjugated brother, came off as a great character actor who happens to have a blazing tenor voice.

Joshua Rosenblum, ZEAL NYC

Meanwhile, Peter Bronder’s Mime was the comic character. The ugliness of the character came as Bronder used his voice never trying to make a beautiful sound but instead using the timbre to create an uncomfortable quality that created a comic element.

Francisco Salazar, OperaWire

Finally, the best actor Oscar goes to the Mime of Peter Bronder, a put-upon victim of abuse and derision.

Fred Kirshnit, ConcertoNet

Peter Bronder was effective as Mime.

John Yohalem, Parterre Box

Der Zwerg

Teatro Nacional de São Carlos Lisbon (April 2017)

Intense, touching, moving. That’s how Zemlinsky’s “Der Zwerg”, staged for the first time both at São Carlos and in our country, turned out to be. From the moment he comes on stage, is it the Dwarf who dominates the opera – a Heldentenor of Wagnerian levels – and Peter Bronder, more than dominating, was completely overwhelming in this role. ... Only the orchestra and the music itself could come close to the stellar level of Peter Bronder's dwarf.

Bernardo Mariano, Diário de Notícias

Two exceptional singers did an admirable job (Peter Bronder and Sarah-Jane Brandon).

Pedro Boléo, Público, 3.5 stars

The Nose (Iaryshkin)

Royal Opera House (October 2016)

There are a plethora of other excellent performances from amongst the large cast, with ... Peter Bronder as Iaryshkin ... standing out in particular.

Sam Smith, musicOMH ****

... and Peter Bronder all made an impression.

Erica Jeal, Opera Magazine

Salome (Herod)

Frankfurt Radio Symphony (September 2016)

Peter Bronder masterfully gave shape to the character of Herodes – meandering between between fantasies of omnipotence and cowardice.

Benedikt Stegemann, FAZ Rhein-Main-Zeitung

The effusive part of Salome’s stepfather, the lecherous Herodes Antipas, was played outstandingly well by Peter Bronder in a balancing act between comedy and abyss.

Markus Kuhn, Frankfurter Neue Presse

Very different [from the Salzburg Festival's disappointing “Manon Lescaut” in concert] was "Salome" at the Alte Oper (soon also on CD), produced by the Hessischer Rundfund and its symphony orchestra: while there were subtle hints towards the dramatic action, this [performance] was focused on the music, without any individual showmanship and vanity [of the artists]. If any, the semi-comic (but really rather grotesque) couple Herodes/Herodias are the most wired: he (Peter Bronder) is effective as a larger than life character tenor.

Hans-Klaus Jungheinrich, Frankfurter Rundschau

Wozzeck (Hauptmann)

Oper Frankfurt (June 2016)

Peter Bronder’s fine Captain, effusively tenoresque, ... They all carry this new Wozzeck production in Frankfurt as the impressively identify with their roles.

Axel Zibulski, Allgemeine Zeitung

Peter Bronder’s dashing Captain.

Andreas Bomba, Frankfurter Neue Presse

The other characters, too, have been drawn with great care by the director: the grotesque melancholic Captain, sung by Peter Bronder stingingly aggressive...

Christoph Wurzel, bachtrack

The Captain, a blown up meddler (Peter Bronder’s character tenor, pungently enunciating), himself almost a nervous wreck, plagues and pesters a nervous Wozzeck...

Hans-Klaus Jungheinrich, Frankfurter Rundschau

Siegfried (Mime)

Teatro Massimo Palermo (December 2015)

Peter Bronder as Mime exploited every detail in the words and vocal line to characterize the deceitful dwarf.

Sara Patera, Opera Magazine

Das Rheingold (Loge)

Ruhrtriennale (September 2015)

The singers are splendid. ... Peter Bronder's Loge outstanding .

Constanze Schmidt, Musik Heute/dpa

Peter Bronder's almost caricaturical Loge is hardly second [to Leigh Melrose's stellar Alberich].

Markus Schwering, Frankfurter Rundschau

... Leigh Melrose’s Alberich is exemplary for Wagner’s dictum that singing should by led from the language, and Peter Bronder’s shimmering Loge follows him closely in this art.

Regine Müller, Nachtkritik

Peter Bronder presents an extremely agile and duplicitous Loge, who marches, hands in pockets, over hedge and ditch.

Wolfram Goertz, RP Online

Vocally and in terms of acting, much was offered. From ... Peter Bronder’s Loge ... there was enormous singer-actor zeal.

Joachim Lange, DerStandard.At

The Miserly Knight (Moneylender)

London Philharmonic Orchestra (January 2015)

... was outsung, however, by the heroic tone of Peter Bronder who impressed as the Jewish moneylender.

Mark Pullinger, bachtrack

Rienzi Recording

Oper Frankfurt (Oehms OC941)

Peter Bronder, admirable in both lyricism and declamation…

Tim Ashley, The Guardian *****

There is not a note or tone in this impressive reading which is not convincingly struck.

Mike Ashman, Gramophone Magazine

Das Liebesverbot Recording

Oper Frankfurt (Oehms OC 942)

Peter Bronder is a dramatically vivid Luzio.

Hugo Shirley, Opera Magazine


Alte Oper Frankfurt (May 2013)

Peter Bronder gave a striking portrait of the title figure.

Frankfurter Neue Presse

His portrayal showed no vocal strain but was a bright, characterful performance, whose strength and vocal quality were able to shine through.

Frankfurter Rundschau

The strong vocal presence, precision and stamina he offered this bigger role was breathtaking. Rienzi is no Siegfried but he has many high passages to sing, which he achieves accurately, without forcing, and with a bright, steely strength and lyrical gentleness.

He conquers with bravura the challenging stronger passages which make up the greater part of this role but he also softens the voice and produces more delicate tones.

Frankfurter Allgemeine Zeitung

Peter Bronder’s Concert Repertoire


B minor Mass
St. Matthew Passion


Symphony No. 9
Missa Solemnis
Christus am Oelberge


Love Cries
The Mask of Orpheus


War Requiem
St. Nicholas


Stabat Mater


Dream of Gerontius
The Kingdom
The Apostles




Das Lied von der Erde


Carmina Burana


Das Buch mit sieben Siegeln (Johannes)



Peter Bronder’s Opera Repertoire


Fidelio (Florestan)


Wozzeck (Hauptmann)


Peter Grimes (Grimes, Bob Boles)


Il Prigioniero (Jailor/Grand Inquisitor)
Volo di Notte (Radiotelegrafista)


Jenufa (Laca-in German)
Makropoulos (Hauk Sendorf)


Saint François d'Assise (Lepréux)*


Die Zauberflöte (Monostatos)
Idomeneo (Idomeneo)
La Clemenza di Tito (Titus)


Boris Godunov (Shuisky)


Palestrina (Palestrina)


Der Schatzgraeber (Narr)


Lady Macbeth of Mtsensk (Peasant)
The Nose (Iaryzhkin)


Salome (Herodes)
Rosenkavalier (Valzacchi)
Elektra (Aegisth)


The Rake’s Progress (Sellem)


Queen of Spades (Herman)


Das Rheingold (Loge, Mime)
Siegfried (Mime)
Der Fliegende Hollaender (Erik)
Rienzi (title role)
Das Liebesverbot (Luzio)
Tannhäuser (Tannhäuser)*
Tristan und Isolde (Tristan)*
Die Walküre (Siegmund)*


Oberon (Huon)


Der Zwerg (Der Zwerg)


Denotes role in preparation

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