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BIOGRAPHY |
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In 2025/26 the Australian tenor makes his debut as TRISTAN in ‘Tistan und Isolde’ at the Münster Theatre.
Recently, he already knew great success here as AGAMEMNON in Krenek’s ‘The Life of Orestes’ and as SIEGMUND in ‘Die Walküre’.
Since the 2023/24 season, Brad Cooper has regularly guest performances at the Würzburg. Here he succeeded in such parts as ALBERT GREGOR in ‘The Makropulos Case’, AEGISTH in Strauss' ‘Elektra’, GASIONE in ‘Medée’ and the DRUM MAJOR in ‘Wozzeck’ In 2026 he can be seen here in the role of FLORESTAN in ‘Fidelio’ and CANIO in ‘I Pagliacci’.
Lately, he also impressed with his role debuts as young and old SIEGFRIED in the Wagner's operas ‘Siegfried’ and ‘Götterdämmerung’ in the Bendigo Ring Cycle at the Melbourne Opera.
In 2028 and 2029 he once again sings both the young and the old SIEGFRIED under the musical direction of Anthony Negus, this time at the Grange Park Opera in Surrey.
Before, other engagements have taken him to the Scottish Opera Glasgow in the role of APOLLO in Richard Strauss' opera ‘Daphne’. At the Chamber Opera Castle Rheinsberg he fascinated with his role debut of FLORESTAN in Beethoven’s ‘Leonore’ - Beethoven’s original version- under the musical direction of Peter Gülke.
After the COVID19 break he first succeeded as RAOUL DE ST. BRIOCHE in Lehár’s ‘Die lustige Witwe’ in an Opera Australia production at the Sydney Opera House. Besides, he enjoyed great success with the tenor part in Haendel’s Messiah at the St. Andrews Cathedral Sydney. From 2020 Brad prepared the title role of LOHENGRIN with Siegfried Jerusalem for the Opera Queensland. These engagements were all ultimately cancelled because of the COVID 19 pandemic.
His operatic career has already brought him to a tour throughout China as RADAMES in ‘Aida’, as TAMINO in Mozart’s ‘Die Zauberflöte’ to the Cologne Opera, the English Touring Opera and the Opera Australia, as BELMONTE in ‘Die Entführung aus dem Serail’ at the Cologne Opera, in the title part in ALBERT HERRING to the Opera Australia, as CONTE ALMAVIVA in Rossini’s ‘Il Barbiere di Siviglia’ to the Opera Holland Park in London, as DON ALONSE in Grétry’s ‘L’amant jaloux’ at the Opera Comique Paris, as DAVEY in Jonathan Dove’s ‘Siren Song’ and EDGAR AUBRY in Marschner’s ‘The Vampyr’ to the Grachtenfestival Amsterdam, as EMILIO in Carlo Pedrotti’s ‘Tutti in Maschera’ to the Wexford Festival and as CLEM in Misha Hamel’s ‘Snow White’ to the Nederlandse Reisopera Enschede.
Brad studied with Maree Ryan at the Sydney Conservatorium of Music, with Marilyn Horne at Music Academy of the West, California and at the National Opera Studio in London.
In concert Brad has performed JONATHAN in Handel’s Saul & Beethoven’s 'Ode to Joy' for Philharmonia Choirs at the Sydney Opera House, Britten’s St Nicolas at the Newcastle Music Festival, Handel’s Messiah at the Sydney Town Hall, the title role in Haydn’s L’ORFEO under the baton of Richard Bonynge, and in Gala Concert with Anna Netrebko in Moscow 2009.
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| REVIEWS |
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| Mainfranken Theater Würzburg – Wozzeck - TAMBOURMAJOR |
| Brad Cooper as Drum major not only scores as macho man, he also vigorously fulfills the character with his strong tenor voice.
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| O-Ton PDF |
| Mainfrankentheater Würzburg – Elektra - AEGISTH |
| Among the members of the Mainfranken Theatre ensemble, which greatly performing moved himself securely through the score, all characters are superbly casted: Brad Cooper as the beautifully voiced Aegisth,….
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| NMZnmz.de |
| Theater Münster – Leben des Orest – AGAMEMNON |
| In Münster due to his following this instruction, tenor Brad Cooper’s interpretation is of overwhelming authenticity...
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| Frankfurter Allgemeinefaz.net |
| All the same there are plenty of inspiring encounters, such as Brad Cooper with his concise tenor heights as Agamemnon,...
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| Westfälische Nachrichtenwn.de |
| Opera Australia – Albert Hering - ALBERT HERRING |
| The cast are, without exception, on excellent vocal form, and several can be singled out, but the laurels on opening night were most definitely won by Brad Cooper in the title role. Albert is a tricky part, an avowed ‘simple soul’, it’s important to understand what that means in a more sensitive age. Given his adeptness at maths and sharpness of mind, nowadays we would probably have him down as a mild case of Aspergers. Cooper is totally convincing – both as a young man and as one coming to terms with the complex and frustrating sexual side of his character in an entirely closed society. The relationship with his mother and his burgeoning feelings for his best friend’s girl are delightfully explored. He captures better than anyone I’ve seen previously in the role the sense of Albert as outsider – his first monologue relating him firmly to characters like Grimes and Paul Bunyan’s Johnny Inkslinger. He also proves vocally ideal, exhibiting a perfect ‘light’ Britten tenor and bearing comparison with the likes of Bostridge, Padmore and Gilchrist. He is equally capable of a hushed pianissimo and a ringing forte and every word is clean and audible. His drunk scene was exemplary, pacier than is sometimes the case, and genuinely touching. A most auspicious debut.
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| Tait Memorial Trusttaitmemorialtrust.org |
| Sydney – Orfeo ed Euridice - ORFEO |
| …tenor Brad Cooper was simply superb in the role of Orfeo, singing with a depth of passion. The role is constant and demanding, and his vocal interpretation was consistently impressive.
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| classik ONclassikon.com |
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