MAGIC FLUTE (Soho Theatre)

OperaUpClose. The Magic Flute. Peter Brathwaite (Papageno). Photo by Christopher Tribble..jpg
Baritone Peter Brathwaite seems to get the lion’s share of the laughs as Papageno, although his extensive stage experience may have skewed that in his favour. What a prodigious talent he is.
— WhatsOnStage ★★★★, September 2017
Standouts are Peter Brathwaite’s Papageno with impressive stage presence, and the several excellent modern savvy jokes too good to give away.
— The Independent ★★★★, September 2017

XERXES (English Touring Opera)

20161005_Xerxes_ETO_HackneyEmpire_rNBS-5104.jpg
As Arsamenes’ mackintosh-attired servant, Elviro, Peter Brathwaite injected a welcome dose of buffo; he has an appealing baritone...Brathwaite’s diction was excellent.
— Opera Today, October 2016
Peter Brathwaite didn’t miss a trick as cheeky chappie Elviro.
— Opera, December 2016
Peter Brathwaite, a young baritone of tremendous presence and talent, elevates the role of Elviro by dint of sharply defined physical work, a honeyed voice and, praise be, immaculate diction.
— WhatsOnStage ★★★★, October 2016
Andrew Slater is a characterful brainiac Ariodate, Peter Brathwaite a fine Elviro.
— The Times ★★★★, October 2016
...and oh, what voices. Brathwaite’s bumbling Elviro did not compromise on tonal quality.
— Bachtrack, October 2016
..with particular praise to Brathwaite, who steals every scene he’s in by just being hilarious.
— A Younger Theatre, October 2016

IL FURIOSO ALL'ISOLA DI SAN DOMINGO (English Touring Opera)

Photo © Alistair Muir / English Touring Opera

Photo © Alistair Muir / English Touring Opera

Peter Brathwaite’s virile baritone, crisp enunciation and sensitive acting makes the character of the slave sympathetic and dignified rather than the farcical blackface turn that may have been originally intended.
— The Telegraph, March 2015
The most enjoyably rounded performance of all comes from Peter Brathwaite as the slave Kaidama. The indefatigable young baritone lights up the stage every time he appears, his well of energy exploited as much by the director as by his fictional master.
— WhatsOnStage, March 2015
However, to my mind the star of the show was Peter Brathwaite as the much put upon Kaidamà, the one person who doesn’t take himself too seriously. (When you’re at the bottom of the heap, you don’t have that privilege!) He enlivened every scene he appeared in – and fortunately there were plenty of these. Whether describing his escapades with relish or attempting to detach himself from the deranged Cardenio’s amorous gropings his singing and acting were funny and engaging. He is surely a natural for the role of Leporello?
This Donizetti rarity is well worth seeing, but I suggest for the next tour it should be renamed Kaidamà!
— Seen and Heard International, April 2015
Peter Brathwaite was very impressive as the slave Kaidama, with mercurial and sympathetic comic acting matched by agile, accomplished singing. He made what could have been a caricature role into something sharply observed.
— Classical Source, March 2015
...from among the strong cast the performances of Craig Smith as Cardenio, Sally Silver as Eleonora and Peter Brathwaite as Kaidamà stand out in particular.
— MusicOMH ★★★★, March 2015
Photo © Tristram Kenton / English Touring Opera

Photo © Tristram Kenton / English Touring Opera

Peter Brathwaite sings the important role of Cardenio’s slave Kaidama. His is a fine comic performance using excellent timing, agile voice and occasional bathos. He reminded me a little of Leporello or a character from Goldoni’s play A Servant of Two Masters...
— Limelight Magazine, March 2015
Brathwaite impressed with his alert acting as the ‘English spy’ in The Siege of Calais, and here (Il furioso all’isola di San Domingo) he married an appreciation of the slave’s essential worthiness with an appropriate dash of comic levity. He articulated the Italian text well too.
— Opera Today, April 2015
Photo © Tristram Kenton / The Guardian

Photo © Tristram Kenton / The Guardian

Donizetti also requires high-voltage singing, and certainly receives it here... Peter Brathwaite seizes all the opportunities allotted to the slave Kaidama.
— The Stage ★★★★, March 2015
Peter Brathwaite’s Kaidamà has the wit and bravado of the born survivor.
— The Guardian ★★★★, March 2015
...with fine performances by Nicholas Sharratt, Njabulo Madlala, and Peter Brathwaite.
— The Independent ★★★★, March 2015
The slave Kaidama, as played by Peter Brathwaite, is a wry observer of the madness around him and often has the last word.
— The Express ★★★★, March 2015
Peter Brathwaite shows comic flair.
— London Evening Standard, March 2015
Peter Brathwaite’s Kaidamà stood out for its firmness despite having to shoulder the comic load of the production.
— Bachtrack, March 2015
Peter Brathwaite makes a big character of the supporting part of Kaidama.
— The Sunday Times, March 2015
...excellent support from Peter Brathwaite, whose comic timing as Kaidama provides welcome relief from the tension!
— Broadway World, March 2015

L'ASSEDIO DI CALAIS (English Touring Opera)

Photo © Bill Knight / English Touring Opera

Photo © Bill Knight / English Touring Opera

Peter Brathwaite was excellent in the short but powerful role of the Stranger, very much in the bel canto spirit...
— Opera Magazine, May 2015
Brathwaite impressed with his alert acting as the ‘English spy’ in The Siege of Calais.
— Opera Today, April 2015
In his brief appearance as the enemy spy, Peter Brathwaite sang with great strength.
— Mark Ronan, March 2015
Peter Brathwaite shone.
— The Donizetti Society, March 2015
 

 

 

LA FANCIULLA DEL WEST (Opera Holland Park, London)

 

Photo © Robert Workman / Opera Holland Park

Photo © Robert Workman / Opera Holland Park

Barlow’s choreography is virtuosically detailed in its scuffles and stalemates.
Sid (Peter Brathwaite), Nick (Neal Cooper), Trin (Jung Soo Yun), Sonora (Nicolas Garrett) and their homesick colleagues are well drawn.
— The Times ★★★★, June 2014
 

TWO CARAVANS (OperaUpClose, London)

Photo © Robert Piwko / OperaUpClose

Photo © Robert Piwko / OperaUpClose

Five young singers give lively performances...I particularly liked Sylvie Gallant’s Irina and Peter Brathwaite’s Emanuel.
— The Daily Telegraph, October 2013
The one who emerges with distinction is Peter Brathwaite, who is also an accomplished actor.
— The Spectator, October 2013
Rosie Middleton and Peter Brathwaite shine particularly brightly; one of his solos - a poignant letter to his sister - is a highlight.
— The Stage, October 2013
There were several things I liked in this fun little opera… Emanuel (Peter Brathwaite), probably the most heartbreaking character of all…
— One Stop Arts, October 2013
All five of the cast sing magnificently - Mr Brathwaite’s lone aria is a highlight.
— Broadway World, October 2013
...He [Emanuel, played by Peter Brathwaite] is probably the most stunning singer who also plays other roles – many of them female.
— Remote Goat Theatre Reviews, October 2013
Peter Brathwaite is particularly brilliant at doubling up on roles, and it’s very funny that a lot of the women’s songs are written for a sleek baritone in wigs and red heels.
— Monkey Matters Theatre Reviews, October 2013
 

KATIBU DI SHON (Reisopera, Netherlands)

Photo © Marco Borggreve / Nederlandse Reisopera

Photo © Marco Borggreve / Nederlandse Reisopera

The British baritone Peter Brathwaite gives Luis the allure of a mythical warrior, ultimately forgiving.
— NRC Handelsblad, July 2013
...the beautiful voices of Jeroen de Vaal, Peter Brathwaite and Kross.
— Theaterkrant.nl, July 2013
Peter Brathwaite’s performance of Luis was outstanding.
— Jairo Lobo, July, 2013
 

A MIDSUMMER NIGHT'S DREAM (RCMIOS, London)

Photo © Chris Christodoulou / Royal College of Music

Photo © Chris Christodoulou / Royal College of Music

Outstanding among the first cast was the polished Demetrius of Peter Brathwaite, whose baritone was clearly projected and did not lose focus in the emotional turmoil of the lovers’ encounters.
— Opera Magazine
...the excellent diction of Peter Brathwaite’s hot-tempered, macho Demetrius... with his robust baritone.
— Classical Source
 

LA FINTA GIARDINIERA (RCMIOS, LONDON)

Photo © Chris Christodoulou / Royal College of Music

Photo © Chris Christodoulou / Royal College of Music

Peter Brathwaite also excelled in stage and vocal terms as Nardo …Brathwaite made the most of his role, neither over- nor underplaying its comic potential, exhibiting a fine young baritone in the process.
— Music Web International
Peter Brathwaite’s seductive wooing had emotional depth.
— Musical Opinion
 

LA SCALA DI SETA (BYO, London)

He has an attractive stage presence... His baritone is strong in the upper register, the sound he produces is clean and attractive.
— Musical Criticism
Peter Brathwaite [... as Germano] also gave an assured performance. It was difficult to imagine how anyone else, could have performed the role better.
— Primi Divi
 

DIE ZAUBERFLOETE (RCMIOS, London)

Photo © Chris Christodoulou / Royal College of Music

Photo © Chris Christodoulou / Royal College of Music

Peter Brathwaite was an easy and engaging presence as Papageno...
— Opera Now
Peter Brathwaite was a gentle and personable Papageno, and managed the switches between humour and pathos well. He interacted nicely with the audience despite the language barrier (always tricky to deliver jokes with a surtitle translation!).
— Classical Source
Peter Brathwaite, proved an agile actor with a pleasantly flexible baritone.
— Opera Britannia