"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
"Peter Bronder’s Herod, every word sung and acted for the greatest impact, was chillingly good, even funny, and weirdly moral"
Robert Thicknesse, The Times
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.
Last season, 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.
This season he returns to Covent Garden as Monostatos Die Zauberflöte, joins Yomiuri Nippon Symphony Orchestra in the role of Le Lépreux Saint François d'Assise and makes his debut at the Opera de Paris as Misail in a new production of Boris Godunov.
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.
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 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
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
Mime (Das Rheingold)
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
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
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
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
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
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.
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
Symphony No. 9
Dream of Gerontius
Das Lied von der Erde
Das Buch mit sieben Siegeln (Johannes)
Peter Bronder’s Opera Repertoire
Peter Grimes (Grimes, Bob Boles)
Il Prigioniero (Jailor/Grand Inquisitor)
Jenufa (Laca-in German)
Saint François d'Assise (Lepréux)*
Die Zauberflöte (Monostatos)
Boris Godunov (Shuisky)
Der Schatzgraeber (Narr)
Lady Macbeth of Mtsensk (Peasant)
The Rake’s Progress (Sellem)
Queen of Spades (Herman)
Das Rheingold (Loge, Mime)
Der Zwerg (Der Zwerg)
Denotes role in preparation