Peter Bronder is represented by Rayfield Allied worldwide.

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Peter Bronder


  • 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
  • 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
  • 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 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.

    Recent successes include Mime for the Liceu in Barcelona and Moneylender The Miserly Knight for the London Philharmonic Orchestra. Last season he appeared as Loge at Ruhrtriennale Festival in Germany before joining Teatro Massimo Palermo as Mime , followed by Luzio at Teatro Real Madrid and Hauptmann at Oper Frankfurt; he sang in concert with the Orchestre Philharmonique Strasbourg.

    2016/17 he sings Herod with Frankfurt Radio Symphony, a role he recently also sang in Sao Paolo and Hong Kong, Iaryzhkin The Nose at the ROH, and Der Zwerg for Lisbon Opera, before making his debut with the New York Philharmonic as Mime.

    Notable engagements include Mime Der Ring des Nibelungen (Teatro alla Scala, Staatsoper Berlin), title role in Rienzi (Oper Frankfurt), Herod (Teatro alla Scala Milan, Teatro Real Madrid, Teatro Regio Turin), the title roles in Der Zwerg and Palestrina in Frankfurt, Loge (Edinburgh Festival, 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.

    • 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
    • Siegfried, Berlin Staatsoper
      BBC Proms (July 2013)

      Peter Bronder’s Mime offered a touch of genius, infusing each syllable with character.
      Jessica Duchen, The Independent *****
      Mime [was] exceptionally sung and acted by Wagnerian stalwart Peter Bronder.
      Sara Mohr-Pietsch, The Guardian
      Peter Bronder’s Mime was every bit as good, and benefited from a brighter, edgier voice.
      Hugo Shirley, Opera Magazine
    • Rienzi
      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
    • Siegfried
      Berlin Staatsoper (October 2012)

      Peter Bronder and Johannes Martin Kränzle sang most eloquently off the words as Mime and Alberich, the former reminding me of the unique Gerhard Stolze; the Act 2 scene for the two unholy brothers was an unexpected highlight.
      Carlos Maria Solare, Opera Magazine
      He is no buffo, but also sings roles like Rienzi, Peter Grimes and Palestrina. He is capable of subtle nuances. This makes him a genuine competitor for Siegfried.
    • Salome (Herod)
      BBC Philharmonic Orchestra

      tenor Peter Bronder’s Herod came insistently forwards and crackled with life. Acclaimed as the trickster, Loge, in Wagner’s Ring, he transferred something of that character’s volatile intensity to his depiction of the ruthless but self-defeated tetrarch of Galilee, who is superstitiously afraid of killing the prophet, and whose tragedy is precisely that he doesn’t have a trick up his sleeve to resist Salome’s wiles. But he has the last word. His abrupt “Man töte dieses Weib!” (“Kill that woman!”), curtailing the action and completing the tremendous 90-minute unfolding, was the shattering surprise it has to be
      Paul Driver, Sunday Times
      But it was Peter Bronder's Herod that really stood out, both for his complete inhabiting of the role and for sheer vocal heft.
      David Fanning, Daily Telegraph
      Peter Bronder - brilliantly playing Herod as a pervy tin-pot dictator unable to control his feelings or his kingdom
      Richard Morrison, The Times
  • 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)
    • Idomeneo (Idomeneo)
    • La Clemenza di Tito (Titus)
    • Boris Godunov (Shuisky)
    • Palestrina (Palestrina)
    • Der Schatzgraeber (Narr)
    • Lady Macbeth of Mtsensk (Peasant)
    • 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

    Peter Bronder’s Concert Repertoire

    • Magnificat
    • 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
    • Requiem
    • Dream of Gerontius
    • The Kingdom
    • The Apostles
    • Messiah
    • Belshazzar
    • Samson
    • Das Lied von der Erde
    • Carmina Burana
    • Das Buch mit sieben Siegeln (Johannes)
    • Requiem
  • Photos

    • Photographer Credit: Phillip Ottendorfer
      Photographer Credit: Phillip Ottendorfer