Press
Hannah Kendall: The Knife of Dawn, Royal Opera House, Covent Garden
“Singing with warmth and verbal clarity, the baritone Peter Brathwaite characterised Carter as the epitome of a freedom-fighting intellectual.”
— The Telegraph
“Carter, sung and acted with uncompromising intensity by Peter Brathwaite… Brathwaite handles Kendall’s austere vocal lines deftly and clearly, giving a disturbing sincerity to Carter’s increasingly lurid fears.”
— The Spectator
“Peter Brathwaite delivers a tour de force in The Knife of Dawn. In a tireless one-hour long monologue, weaving together Carter’s poetry, political ideals and personal hopes, Brathwaite creates a charismatic portrayal of a true hero in extremis. His delivery is so clear that you don’t notice the lack of subtitles.”
— Bachtrack
“Brathwaite’s tireless performance was a tour de force”
— Opera Magazine
“Peter Brathwaite gave a forceful, passionate performance”
— Wall Street Journal
“No praise could be too high for baritone Peter Brathwaite, who takes the central role and gives a heroic performance. With perfect diction and a fine sense of timing, he manages to invest his part with pulsating believability.”
— The Independent
“The superb and indefatigable baritone Peter Brathwaite”
— Forum Opera
Little Bulb: Wolf Witch Giant Fairy, Royal Opera House, Covent Garden (Winner of a 2022 Laurence Olivier Award)
“Peter Brathwaite sings with a warm baritone and provides an effectively cryptic narration.”
— The Stage
“Led by Peter Brathwaite’s charismatic ringmaster narrator...”
— The Telegraph
Ann Cleare, The Little Lives, Münchener Musiktheaterbiennale 2022
“[Eine] fantastische Gesangsleistung”
— Neue Musikzeitung
Richard Wagner, Tristan und Isolde, Opéra national de Lorraine, 2023
“Among the roles to which Richard Wagner concedes only a few lines, Peter Brathwaite creates a monolithic villain that the dramaturgy does not allow for much depth. This is a pity because he possesses a silken baritone timbre.”
— Premiere Loge Opera
“Peter Brathwaite’s vocally very fiery Melot”
— Il giornale della musica
“Peter Brathwaite delivers a very strong Melot”
— Opera Online
“Peter Brathwaite’s does not fail to embody the evil character of Melot”
— Toute La Culture
Olga Neuwirth: The Outcast, Philharmonie de Paris
“Peter Brathwaite confère vie et fougue à Stubb ”
— Diapason
“Stubb, officier du navire, présente une voix puissante et un timbre sombre. ”
— Ôlyrix
Kris Defoort: The Time of Our Singing, La Monnaie
“Peter Brathwaite, véritable diplomate du chant”
— Le Soir
“Le baryton britannique Peter Brathwaite réussit avec une très grande souplesse à démystifier le rôle opératique du frère Joey à travers un jeu libre, théâtral et une acuité émotionnelle. La voix gutturale, sombre et très prosodique du chanteur s’accorde dans un phrasé très naturel, sans effort.”
— Olyrix
“il fratello minore Joey, pianista che fa anche da narratore della storia, è invece il baritono inglese Peter Brathwaite, bel timbro brunito e grande scioltezza in scena”
— Giornale della musica
Benjamin Britten: The Five Canticles, Leeds Lieder
“The three kings were finely characterized by Padmore, Davies and the baritone Peter Brathwaite, whose beautiful, burnished tone made quite an impression.”
— Music OMH
“Baritone Peter Brathwaite – poised, warm-toned, eloquent – joined Padmore and Davies, and the trio formed both a unified group and individually characterised Magi, the vocal lines alternating vigour and visionary wonder.”
— Opera Today
“Padmore, perceptive, alert, incandescent, was joined by the countertenor Iestyn Davies, baritone Peter Brathwaite, horn player Ben Goldschneider and harpist Olivia Jageurs. When performers convince you that a piece you’ve somehow bypassed might well be a composer’s greatest work, they’re getting it right.”
— The Observer
Jules Maxwell: The Lost Thing, Royal Opera House, Covent Garden
“the baritone Peter Brathwaite… (led) the versatile singing ensemble with his customary panache and a touch of class”
— Opera Magazine
Eisler/Hollaender/Schoenberg/Spoliansky/Weill: Effigies of Wickedness, Gate Theatre & English National Opera
“The idea for the show came from distinguished baritone Peter Brathwaite who is an expert in the field and has performed solo concerts from this repertoire. Here he not only sings like a dream but the show seems to be infused by his spirit – playful and learned, flexible but never cheap. And very much not above messing around in the dressing-up box. Another of these cabarets soon, please.”
— The Independent
“Honey-voiced baritone Peter Brathwaite had the idea for the project”
— The Evening Standard
“Peter Brathwaite’s brilliant idea for a show brilliantly realised.”
— Broadway World
“Initiated by the baritone Peter Brathwaite, with dramaturgy by impish theatrical provocateur Christopher Green and new lyrics by Seiriol Davies, the show is a collection of Weimar songs banned by the Nazis. …Here, in this ground-breaking collaboration between the Gate and the English National Opera, some of the forbidden music is gloriously reclaimed, echoing between that perilous pre-war world and our own, ugly-beautiful, piercing, funny and terrifying.”
— The Stage
“Mezzo-soprano Katie Bray and baritone Peter Brathwaite sing with passion and clarity, their rich voices, so used to filling huge auditoria, now thrilling in this small space. These consummate actors relish the comedy and this close to their audience the rage and pathos in so many numbers is palpable.”
— Jewish Renaissance
“Peter Brathwaite brings heart, soul and sensitivity to his numbers as his sincerity and understanding are tangible.”
— Music OMH
Donizetti: Il furioso all’isola di San Domingo/L’assedio di Calais, English Touring Opera
“Peter Brathwaite’s virile baritone, crisp enunciation and sensitive acting”
— The Telegraph
“The indefatigable young baritone lights up the stage every time he appears”
— WhatsOnStage
“Mercurial and sympathetic comic acting matched by agile, accomplished singing”
— Classical Source
“Peter Brathwaite’s Kaidamà has the wit and bravado of the born survivor.”
— The Guardian
“The star of the show was Peter Brathwaite as the much put upon Kaidamà, the one person who doesn’t take himself too seriously. 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?
— Seen and Heard International
“Donizetti also requires high-voltage singing, and certainly receives it here... Peter Brathwaite seizes all the opportunities allotted to Kaidama.”
— The Stage
“Peter Brathwaite was excellent… very much in the bel canto spirit”
— Opera Magazine
Corsen: Katibu di Shon, Nederlandse Reisopera
“The British baritone Peter Brathwaite gives Luis the allure of a mythical warrior”
— NRC Handelsblad