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  23 Apr 19 Britten Billy Budd
  Royal Opera House, Covent Garden

  “Brindley Sherratt’s Claggart was full of the nastiness born of misery, his bass full of grit and power hidden beneath silky obsequiousness.”
  Eric Jeal, Opera, July 2019

  “Brindley Sherratt’s Claggart is definitive, dominating the stage with his malign presence, and drawing us into his tormented plan to destroy Billy.”
  Michael Church, The Independent, 24 April 2019

  “…individual performers make their mark. Jacques Imbrailo (Billy), Toby Spence (Vere) and Brindley Sherratt (Claggart) are an unimproveable central triangle…Sherratt’s silken, self-loathing villainy. The word ‘love’ curdles with sickening sweetness in Sherratt’s mouth…”
  Alexandra Coghlan, The Spectator, 02 May 2019

  “Brindley Sherratt plays a Claggart of unfathomable depths, part civil servant, part nemesis from hell, and his strong singing carries an unarguable dominance.”
  Richard Fairman, Financial Times, 25 April 2019

  “On another level, the role assumptions of Imbrailo, Spence and Sherratt are frequently breath-taking…Bass Brindley Sherratt was a dark incarnation of the Master-at-Arms, John Claggart. Rock-solid in both voice and stage presence, he completed a trio at the height of their powers.”
  Colin Clarke, Seen and Heard, 25 April 2019

  “[Claggart] As played by the subtle actor/singer Brindley Sherratt, who sang the role in Michael Grandage’s period production at Glyndebourne in 2013, this “fallen angel” (Warner’s description) goes into psychological meltdown after having run his fingers down Billy’s bare back, when he hypocritically praises the boy for drubbing the treacherous seaman Squeak (Alasdair Elliott). “If love still lives and grows strong where I cannot enter, what hope is there in my own dark world for me?” If these aren’t the words of a self-hating homosexual, I don’t know what are.
  The beauty of Sherratt’s performance is its understatement. He’s far from the conventional brutish thug, and sings with a subtlety that lends another dimension to the character — you almost feel sorry for him.”
  Hugh Canning, The Sunday Times, 28 April 2019

  “[Claggart] is magnificently sung by Brindley Sherratt. Here he shows that his fine bass is capable of expressing pure evil. The Iago-like scene in which he vows to destroy Billy is chilling from first syllable to last.”
  Patrick Marmion, Daily Mail, 26 April 2019

  “Sherratt in his sinister portrayal, oily and glistening”
  Fiona Maddocks, The Observer, 28 April 2019

  “Brindley Sherratt has the depth and weight to make Claggart the embodiment of vengeful malice”
  Nick Kimberley, Evening Standard, 24 April 2019

  “Sherratt’s voice is dark, large and pitilessly focused, and, crucially, he is very still – and lethally convincing.”
  Peter Reed, Classical Source, 23 April 2019

  “…the brooding Claggart of Brindley Sherratt…”
  Amanda Holloway, The Stage, 24 April 2019

  “Unquestionably the finest scene of the evening is Claggart’s monologue, where the repressed Master at Arms, unable to deal with what Forster called his “sexual discharge gone evil”, lies and crouches, succubus-like, on the “deck” above the sleeping sailor in his hammock, tormenting his dreams. Brindley Sherratt’s black-treacle sounds alongside the lower brass are duly spine-tingling here.”
  David Nice, The Arts Desk, 24 April 2019

  “There is some magnificent singing – the implacable blackness of Claggart’s credo as Sherratt delivers it…”
  Andrew Clements, The Guardian, 24 April 2019

  “His persecutor Claggart was portrayed with just the right amount of seething malevolence by British bass Brindley Sherratt”
  William Harston, The Express, 30 April 2019

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  14 Mar 19 Mozart The Magic Flute
  English National Opera

  “Brindley Sherratt makes a splendidly dominating Sarastro”
  Michael Church, Independent, 15 March 2019

  “Brindley Sherratt as the benevolent Sarastro — whose arias George Bernard Shaw described as the only music fit to be put into the mouth of God — is both sonorous vocally and impressive dramatically.”
  Tully Potter, Daily Mail, 22 March 2019

  “Brindley Sherratt makes a splendidly dominating Sarastro.”
  Michael Church, Independent, 18 March 2019

  “Brindley Sherratt’s Sarastro, styled somewhere between 1980’s Steve Jobs and a creepy rock-band manager, boasts diction as rounded as his bass.”
  Neil Fisher, The Times, 18 March 2019

  “Brindley Sherratt is a vocally imposing Sarastro”
  Richard Fairman, Financial Times, 19 March 2019

  “Brindley Sherratt’s plush bass was on magnificent display as Sarastro, totally secure in his two major arias.”
  Dominic Lowe, Bachtrack, 16 March 2019

  “As Sarastro, Brindley Sherratt uses his deep, velvety bass to hypnotise his apostles”
  Amanda Holloway, The Stage, 15 March 2019

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  09 Feb 19 Wagner Die Walküre
  Toronto Symphony Orchestra/Sir Andrew Davis

  “The third singer was renowned British bass Brindley Sherratt, a voice unfamiliar to me. I was totally blown away by Sherratt, whose dark bass rivals that of the great Kurt Moll and Matti Salminen. It really whetted my appetite for more.”
  Joseph So, Ludwig van Toronto, 01 February 2019

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  09 Dec 18 Sondheim Sweeney Todd
  Opernhaus Zurich

  “Brindley Sherratt was a sonorous Judge and entered bravely into the spirit of the action.”
  John Rhodes, Seen & Heard International, 11 December 2018

   

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  10 Nov 18 Turnage The Silver Tassie
  BBC Symphony Orchestra/Ryan Wigglesworth

  “Brindley Sherratt gave a flawlessly saturine account of the Croucher”
  Mark Valencia, Opera, January 2018

  “This scene also included Brindley Sherratt (replacing an indisposed Sir John Tomlinson), who sang from behind the orchestra, and brought every inch of vocal brilliance to The Croucher that he recently did to the role of Fafner at the Royal Opera House”
  Sam Smith, Music OMH, 10 November 2018

  “A spectacular substitute performance for John Tomlinson came from Brindley Sherratt as The Croucher, the symbolic-figure who dominates the scene in the trenches.”
  Hugh Canning, Sunday Times, 18 November 2018

  “The BBC Singers and Finchley Children’s Music Group were outstanding, while The Croucher (Brindley Sherratt, flown in from Zurich at a moment’s notice) was suitably ominous.”
  Claire Jackson, Opera Now, 13 November 2018

  “Brindley Sherratt took over the role of Croucher at short notice from Sir John Tomlinson, emoting his damning prophecies about War from the very back of the stage in the expressionist second Act, while the men from the BBC Singers sung the trench-bound troops on the forestage and the boys of the Finchley Children’s Music Group chillingly and cheerfully became the stretcher-bearers.”
  Nick Breckenfield, Classical Source, November 2018

   

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  07 Nov 18 Britten Billy Budd
  BelAir Classiques DVD

  “There is something very ordinary, in a good sense, in Brindley Sherratt’s man-next-door Claggart until, left alone to expound on his motivation, he erupts in a powerful outpouring of repressed desire and self-loathing.”
  Richard Fairman, Gramophone, November 2018

  “Claggart is the villain here you will love to hate: he is the Iago of this opera, and Brindley Sherratt is brilliant in the portrayal of him. He is subtle in his evil, his rich bass voice such a perfect match for his dark character.”
  Robert Cummings, MusicWeb International

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  06 Oct 18 Wagner Die Walküre
  BBC Philharmonic Orchestra/Wellber

  “Brindley Sherratt made a truly ferocious Hunding”
  Tim Ashley, The Guardian, 07 October 2018

  “The tubas immediately gave Brindley Sherratt’s Hunding a powerful sense of villainy, each triplet figure crisply cut in his strident motif. Sherratt was remarkably sinister for a concert-performance, commanding the stage from his first entry and filling the hall with his rich bass.”
  Rohan Shotton, Bachtrack, 08 October 2018

  “…and Brindley Sherratt, as Hunding, brought the note of pent-up violence and menace.”
  Robert Beale, The Arts Desk, 08 October 2018

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  24 Sep 18 Wagner Das Rheingold & Siegfried
  Royal Opera House, Covent Garden

  “As the giant-cum-dragon Fafner, Brindley Sherratt produced a slowly vibrating fog that curled down into the tuba’s thick black beam.”
  Flora Wilson, The Guardian, 01 October 2018

  “The completion of Wagner’s Ring at the ROH…was straightforward in comparison, with the bonus of a severed head, that of Fafner the giant, sung with the deepest, darkest strength by Brindley Sherratt.”
  Fiona Maddocks, The Observer, 07 October 2018

  “Brindley Sherratt’s cavernous bass made for an eloquent, poignant Fafner.”
  David Karlin, Bachtrack, 30 September 2018

  “Brindley Sherratt, a spectral Fafner”
  Mark Valencia, What’s on Stage, 01 October 2018

  “Günther Groissböck and Brindley Sherratt, as Fasolt and Fafner, Fafner, made striking giants”
  Paul Driver, The Sunday Times, 30 September 2018

  “Excellent giants too, Gunther Groissbock as Fasolt and Brindley Sherratt as Fafner, seasoned Wagnerians, and both on fine form.”
  Gavin Dixon, The Arts Desk, 25 September 2018

  “…both he [Groissbock as Fasolt] and Brindley Sherratt’s Fafner gave us vocal underpinning as solid as the flawless bricks and mortar that the giants have built into Valhalla.”
  David Karlin, Bachtrack, 25 September 2018

  “The production is enjoyable enough too, in its eclectic, opportunistic way, with [a] terrific representation of the dragon Fafner (Brindley Sherratt)”
  Rupert Christiansen, The Telegraph, 02 October 2018

  “Strong participation in secondary roles, too, with Brindley Sherratt’s dark-souled Fafner, founded on a rich depth of tone.”
  George Hall, The Stage, 25 September 2018

  “Brindley Sherratt’s Fafner is properly baleful even when reduced to a decapitated head.”
  Richard Morrison, The Times, 02 September 2018

  “At least the giants – Gunther Groissbock’s Fasolt with monstrously overgrown fingers, and Brindley Sherratt’s point-headed Fafner – inject life.”
  Richard Morrison, The Times, 25 September 2018

   

   

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  17 Jul 18 Debussy Pelléas et Mélisande
  Glyndebourne Festival Opera at the BBC Proms

  “In the role of Arkel the sonorous-voiced Brindley Sherratt, making the most of long declarations and chilling when he sang “Si j’étais Dieu, j’aurais pitié du coeur des hommes…”.”
  Alexander Campbell, Classical Source, 17 July 2018

  “Brindley Sherratt brought a melancholy dignity to Arkel, conveying more with his posture in the first act than with his voice. Very much a consummate stage singer, his attention to the text was nuanced and keen.”
  Dominic Lowe, Bachtrack, 19 July 2018

  “Brindley Sherratt bringing his usual imposing gravitas to paterfamilias Arkel.”
  Jim Pritchard, Seen and Heard, 18 July 2018

   

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  21 May 18 Strauss Der Rosenkavalier
  Glyndebourne Festival Opera

  “Brindley Sherratt was an uncommonly lithe, even graceful Ochs, qualities that somehow made him the more dangerous; his low Ds were a thing of reverberating wonder and his diction was meticulous throughout.”
  Roger Parker, Opera, August 2018

  “The most successful of the principals was Brindley Sherratt’s Baron Ochs, well sung and freshly thought as a still elegant figure prone to self-delusion.
  Richard Fairman, Financial Times, 26 May 2018

  “As the groper, Baron Ochs, is superbly sung by Brindley Sherratt.”
  Barry Millington, Evening Standard, 21 May 2018

  “Brindley Sherratt’s unconventionally serious Ochs is now the productions’s most radical and successful departure from tradition.”
  Hugh Canning, The Sunday Times, 03 June 2018

  “Brindley Sherratt, singing like he’s savouring vintage port”
  Richard Bratby, The Spectator, 02 June 2018

  “Bass Brindley Sherratt, wearing dyed orange wig, is magnificently gross as Ochs. Not even being caught bang to rights in a dubious inn with the Marschallin’s maid Mariandel (Octavian in disguise) deters him from trying to make capital of his reversal.”
  Clare Colvin, Express, 30 May 2018

  “Brindley Sherratt obviously relished playing the sleazeball Baron Ochs, complete with truly ghastly Trump-esque wig, his comic acting was helped, no doubt, by the vocal demands of the role being so far within his comfort zone.”
  David Karlin, Bachtrack, 21 May 2018

  “British bass Brindley Sherratt was sensational as the noisome Baron Ochs, a role he played last year for Welsh National Opera. This time round the freedom of his performance and the buoyant physicality of his bewigged appearance rendered him barely recognisable, while those rounded basso notes had more than a touch of velvet.”
  Mark Valencia, What’s on Stage, 22 May 2018

  “Brindley Sherratt’s Ochs combines louche charm with genuine menace.”
  Tim Ashley, The Guardian, 21 May 2018

  “It should come as no surprise that Brindley Sherratt is such a vocally strong Baron Ochs with his cavernous yet focussed bottom register and that pleasingly gravelly tone he has. Dramatically he is in his element. Indeed, after all those villainous characters he usually plays, it’s great to see him assuming a role with much humour in it but treating it with engaging deadpan seriousness, and he manages to retain audience sympathy even when Ochs’s appalling conduct cues his final fall.”
  Alexander Campbell, Classical Source, 20 May 2018

  “Brindley Sherratt is a homespun, firm-voiced Ochs, not too odious to resist some of our sympathy, and sometimes threatening to steal the show.”
  Neil Fisher, The Times, 23 May 2018

  “The evening is also a testament to the strength of Glyndebourne’s casting, with all the major roles performed to a standard it would be hard to match and nigh-on impossible to beat…Even Rosenkavalier addicts might admit, however, that the piece can occasionally seem overlong, with stretches of the second and third acts tending to dip in quality. Not here, due to the comprehensive excellence of Brindley Sherratt’s Ochs – a tour-de-force of comic acting defined through masterly singing – and equally to conductor Robin Ticciati’s ability to highlight the infinitesimal detail of Strauss’s writing without sacrificing the broader picture.”
  George Hall, The Stage, 21 May 2018

  “Brindley Sherratt’s odious groom Baron Ochs…[an]oddly sinister, half cut-price old Tory buffer, half gammon-faced provincial with a hideous wig. His ease with the text shows in the second-act humiliation of his bride to be; by the third act we are so comfortable with his sonorous interpretation – rarely have the bottom notes been so impressive – that we’re won over completely, and even – as is intended – feel slightly sorry for this monster in #metoo’s eyes having reached the end of the road.”
  David Nice, The Arts Desk, 21 May 2018

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  27 Jan 18 Wagner Das Rheingold
  London Philharmonic Orchestra/Jurowski

  “As for the singing, those giants — Matthew Rose and Brindley Sherratt, the Chas and Dave of Norse mythology in their workman’s braces — were two indisputable successes of Ted Huffman’s sketchy semi-staging.”
  Richard Morrison, The Times, 29 January 2018

  “As the giants, Matthew Rose and Brindley Sherratt well embodied the temperamental contrast between the lovelorn Fasolt and the ruthless Fafner.”
  Paul Driver, The Sunday Times, 04 February 2018

  “Brindley Sherratt and Matthew Rose were similarly excellent as Fafner and Fasolt: Sherratt, baleful in tone and scarily duplicitous, was an ideal foil for Rose.”
  Tim Ashley, The Guardian, 28 January 2018

  “More satisfying were…grumpy proletarians Fasolt (Matthew Rose) and Fafner (Brindley Sherratt).”
  Rupert Christiansen, The Telegraph, 28 January 2018

  “The giants were beautifully characterised by Matthew Rose’s Fasolt, wistfully hankering after the goddess of youth Freia (Lyubov Petrova), and Brindley Sherratt’s Fafner, avaricious for gold to the last ounce of the fateful ring.”
  Clare Colvin, Express, 04 February 2018

  “…the giants Fasolt (Matthew Rose, truculent and tender) and Fafner (Brindley Sherratt, a terse, murderous bruiser) led an impressive cast.”
  Fiona Maddock, The Guardian, 04 February 2018

  “Brindley Sherratt, splendid”
  David Nice, The Arts Desk, 28 January 2018

  “Matthew Rose and Brindley Sherratt were fine as the giants Fasolt and Fafner.”
  Barry Millington, Evening Standard, 29 January 2018

  “The cast includes some top international stars, including some familiar faces from the UK concert and opera scene (Matthew Rose, Brindley Sherratt).”
  Colin Clarke, Seen and Heard, 28 January 2018

  Brindley Sherratt and Matthew Rose, whose accounts were cleverly differentiated – the one insidious and calculating, the other bluff and humane – and both wonderfully sung.
  Mark Valencia, Bachtrack, 28 January 2018

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  15 Jan 18 Tippett A Child of our Time
  London Philharmonic Orchestra/Gardner

  “Singing almost entirely from memory, Brindley Sherratt imbued his Baroque-influenced parlando with telling gravitas and engaged in magisterial dialogue with the chorus in ‘Go down, Moses’. Every word was crystal-clear: as Sherratt’s deep, focused bass reverberated, phrases such as “They took a terrible vengeance” and “The words of wisdom are these” made my spine tingle.”
  Claire Seymour, Classical Source, 15 January 2018

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  25 Jun 17 Britten Billy Budd
  Opera North at the Aldeburgh Festival

  “The joker in the pack – no, joker is definitely the wrong word – was the addition of Brindley Sherratt’s matchless Claggart to the company. The great British bass, still currently on Baron Ochs duty for WNO, revisited the role with which he scorched Glyndebourne’s earth in its revival production and delivered a performance of staggering presence and baleful intent. Herman Melville’s master-at-arms is a creation of pure evil, more a brother than a cousin to Otello’s Iago, and Sherratt’s interpretation of it was a masterclass in malignity and power.”
  Mark Valencia, Bach Track, 25 June 2017

  “Brindley Sherratt’s superbly sung John Claggart is more austere than villainous, embittered by the knowledge of what he can’t have.”
  Hannah Nepil, Financial Times, 27 June 2017

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  05 Jun 17 Strauss Der Rosenkavalier
  Welsh National Opera

  “Brindley Sherratt did a fine job of turning [Ochs] into a boorish, comedic bumpkin with some particularly fine lower notes.”
  Rebecca Franks, The Times, 06 June 2017

  “Sherratt’s portrayal-brilliantly sung and also a role debut-was all the better for not being overly vulgar, instead suggesting Och’s sense of entitlement.”
  Rian Evans, Opera, August 2017

  “Brindley Sherratt is superb as the lecherous, arrogant Ochs; in an unusually nuanced reading of the role, it’s his very sense of entitlement that signals the death knell of an already outdated social hierarchy.”
  Steph Power, Opera News, July/August 2017

  “More arresting were the delicious Louise Alder as an adorably ardent Sophie and in particular Brindley Sherratt as a Baron Ochs quite brutally repellent in his spivvy venality but never caricatured and always crisply projected.”
  Rupert Christiansen, The Telegraph, 05 June 2017

  “The great bass Brindley Sherratt was on splendid form as the boorish Baron Ochs, an enormous role of impossible prolixity that he’ll reprise next summer when Glyndebourne revives Richard Jones’s production.”
  Mark Valencia, What’s on Stage, 05 June 2017

  “Brindley Sherratt’s Ochs, on the other hand, is not quite the usual scruff, but a decayed squire in check trousers and Loden coat. His rustic patter is fluent-sounding, though not heavily accented, and the voice is a strong bass, with a solid low E at the end of Act 2.”
  Stephen Walsh, The Arts Desk, 13 June 2017

  “With Brindley Sherratt as the overbearing and lecherous Baren Ochs (whose green frock coat and check trousers brought to mind Toad of Toad Hall), this new production scores a real winner. He inhabited the role with ease (shirt dangling from his fly in Act II), taking this demanding role in his stride, and certainly being vocally luxuriant – particularly in his lowest register.”
  David Truslove, Bachtrack, 06 June 2017

  “Brindley Sherratt’s portrayal of the thwarted Baron Ochs – as oafish as his name – is not as crude a caricature as some, and he rightly made his excellent bass the focus of attention.”
  Rian Evans, The Guardian, 05 June 2017

  “…Baron Ochs (a superb Brindley Sherratt)…”
  Steph Power, The Stage, 05 June 2017

   

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  25 Apr 17 John Adams Dr Atomic
  BBC Symphony Orchestra/Adams

  “Brindley Sherratt was an ominous presence as the scientist Edward Teller”
  Hannah Nepil, Financial Times, 26 April 2017

  “…excellent support from Brindley Sherratt…”
  Rupert Christiansen, The Telegraph, 26 April 2017

  “…the Hungarian Edward Teller (an inspiration for Dr Strangelove) and Robert Wilson – characterfully sung by Brindley Sherratt and Andrew Staples – express their differing anxieties.”
  Fiona Maddocks, The Guardian, 28 April 2017

  “Brindley Sherratt brought his imposing bass to the part of the scientist Edward Teller”
  David Karlin, Bachtrack, 26 April 2017

  “Andrew Staples and Brindley Sherratt showed some grit as doubting and bullish physicists respectively”
  Neil Fisher, The Times, 27 April 2017

  “Brindley Sherratt was on excellent form as Edward Teller, his firm bass resonating around the hall”
  Sam Smith, MusicOMH, 25 April 2017

  “Joining Oppenheimer as an absolute equal of vocal excellence was Brindley Sherratt’s Edward Teller, Sherratt’s every word perfectly enunciated, his voice superbly focused.”
  Colin Clarke, Scene and Heard, 28 April 2017

   

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  08 Feb 17 Britten Billy Budd
  Teatro Réal, Madrid

  “Brindley Sherratt imbued his Claggart with a booming, strong evil worthy of a Scarpia.”
  Roberto Herrscher, Opera News, June 2017

  “Brindley Sherratt’s Claggart was an absolute triumph. He steers clear of the obvious temptation of playing the violent villain and conceives Claggart as an ordinary man capable of the worst depravity. He depicted this sombre banality with careful and never too emphatic phrasing.”
  Fernando Remiro, Bachtrack, 06 February 2017 

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  23 Nov 16 Puccini Manon Lescaut
  Metropolitan Opera, New York

  “…the excellent support of Christopher Maltman’s Lescaut and Brindley Sherratt’s Geronte…”
  Corinna da Fonseca-Wollheim, New York Times, 15 November 2016 

  “Brindley Sherratt lent his imposing, gravelly bass to the role of Geronte, the powerful lech who seduces Manon. This is not a part with much nuance, but he dominated the stage with his malicious bearing.”
  Eric C. Simpson, New York Classical Review, 15 November 2016 

  “Brindley Sherratt’s big, mean bass was perfect for the slick Geronte.”
  Robert Levine, Bachtrack, 15 November 2016 

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  06 Jun 16 Tchaikovsky Eugene Onegin
  Garsington Opera

  “Brindley Sherratt brought great sympathy and great resonance to his solo as Prince Gremin. There were no novelties, and no shocks, simply a superbly musical performance done in the context of a very fine dramatic performance.”
  Robert Hugill, Opera Today, 04 June 2016

  “Prince Gremin is a bit of a steal. Appearing in Act III, he gets to sing one of the most gorgeous arias in all Russian opera and that’s his work done. Brindley Sherratt was the perfect cat burglar, his rich bass enveloping the audience in a warm bath of tone – sheer class.”
  Mark Pullinger, Bachtrack, 04 June 2016 

  “Brindley Sherratt brings dignity and heartfelt bass tone to her elderly husband, Prince Gremin.”
  George Hall, The Stage, 06 June 2016

  “Brindley Sherratt is an affecting Prince Gremin.”
  Richard Morrison, The Times, 06 June 2016

  “Brindley Sherratt  [is] particularly worth mentioning in the role of Prince Gremin, the retired general whom Tatyana marries. He only has one major aria in the opera, but delivers it beautifully.”
  William Hartston, Express, 17 June 2016

  “…Brindley Sherratt an imposing Prince Gremin…”
  Stephen Pritchard, The Guardian, 19 June 2016

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  23 May 16 Debussy Pelléas et Mélisande
  Opernhaus Zurich

  “Autoritär und selbstbewusst agiert Brindley Sherratt als unbestrittenes Familienoberhaupt Arkel, setzt seinen markanten, stimmgewaltigen Bass Ehrfurcht erregend (und manchmal auch mitfühlend „Si j’étais Dieu, j’aurais pitié des hommes…“ ) ein.”
  Kaspar Sannemann, Oper Aktuell, 08 May 2016

  “British bass Brindley Sherratt is excellent as Arkel and has the best arias, bringing Gurnemanz to mind with his wise and kindly philosophical remarks. He also looks and acts the part with distinction.”
  John Rhodes, Seen and Heard, 10 May 2016 

  “Dafür tritt nun König Arkel in Aktion, der zuvor mit krummem Rücken und zu hohem Hosenbund den psychotherapeutischen Ruhestand abgesessen hatte: Brindley Sherratt gibt sich darstellerisch mühelos ein paar Jahrzehnte älter, als er ist, sein charismatischer Bass klingt wie revitalisiert von der neuen Herausforderung.”
  Susanne Kübler, Die Welt, 15 May 2016 

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  16 Feb 16 Puccini Manon Lescaut
  Metropolitan Opera, New York

  “[Geronte] a role sung here by the coolly commanding bass Brindley Sherratt.”
  Anthony Tommasini, New York Times, 13 February 2016

  “Brindley Sherratt’s Geronte, Manon’s protector, was memorable in his crisp bass.”
  Ako Imamura, Bachtrack, 14 February 2016 

  “The supporting cast was dominated by Brindley Sherratt, brilliantly sinister as lusty old Geronte.”
  Martin Bernheimer, Financial Times, 15 February 2016

  “Brindley Sherratt a strong, chilly Geronte.”
  Heidi Waleson, The Wall Street Journal, 16 February 2017 

  “…the English bass Brindley Sherratt is suitably pompous as Geronte.”
  Wilborn Hampton, The Huffington Post, 16 February 2016  

  “…the masterful Geronte of Brindley Sherratt…”
  F. Paul Driscoll, Opera News, May 2016

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  03 Nov 15 Berg Wozzeck
  Lyric Opera of Chicago

  “Brindley Sherratt was both amusing and unsettling in the role of the Doctor, the officious quack who uses Wozzeck as a subject for his experiments and obsessive elimination and diet remedies (“Eat your beans, Wozzeck!”). The British bass’s voice was sonorous and penetrating.”
  Lawrence A. Johnson, Chicago Classical Review, 02 November 2015

  “Brindley Sherratt, the British bass, brings just the right twisted, career-driven energy to the Doctor, a man hellbent on securing his immortality by way of torturous experiments on Wozzeck.”
  Hedy Weiss, Chicago Sun Times, 01 November 2015

  “The bass Brindley Sherratt, as the Doctor, is the standout among subsidiary roles.”
  George Loomis, Financial Times, 03 November 2015 

  “We witness poor Wozzeck as he submits to hideous experiments by a doctor who is hoping to cash in on Wozzeck’s eagerly wished for insanity. (British bass Brindley Sherratt is gallows funny in his predeliction for sharing the details of other pathetic specimens, described with loving pride.)”
  Nancy Malitz, Chicago on the Aisle, 03 November 2015 

  “The self-important Doctor (turned with well-gauged nervousness and deceptive vocal finesse by bass Brindley Sherratt).”
  Lawrence B. Johnson, Classical Voice America, 04 November 2015 

  “…the self-important Doctor (turned with well-gauged nervousness and deceptive vocal finesse by bass Brindley Sherratt)…”
  Lawrence B. Johnson, Classical Voice America, 04 November 2015 

  “[Wozzeck’s]character was complimented by Brittish bass Brindley Sherratt, who examined the hapless Wozzeck through a huge magnifying glass in his Dr Frankenstein-like laboratory.”
  John von Rhein, Opera, January 2016

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  07 Jul 15 Britten A Midsummer Night's Dream
  Festival d'Aix-en-Provence

  “Brindley Sherratt’s impeccable Bottom…Sherratt’s star quality is a special bonus, of course. Was there ever a more mellifluous Bottom? His rich, finely controlled singing lends distinction and subtlety to every scene he’s in, ass head on or off.”
  Mark Valencia, Bachtrack, 06 July 2015 

  “les artisans, emmenés par ce fanfaron de Bottom, alias Brindley Sherratt…”
  Martine D. Mergeay, La Libre, 05 July 2015 

  “Michael Slattery (Flute) est hilarant en Thisbé, tout comme le Pyrame/Bottom hyper-expansif de Brindley Sherratt.”
  Chantal Cazaux, L’Avant-Scène Opéra, 09 July 2015

  “Brindley Sherratt est un Bottom sans exubérance excessive mais très en voix, entouré d’une réjouissante troupe d’artisans.”
  Laurent Bury, Forumopera, 10 July 2015 

  “Le sextuor des artisans, emmené avec panache par le Bottom cabotin comme il se doit de Brindley Sherratt, fait mourir de rire l’assistance au dernier acte.”
  Jean-Luc Clairet, Resmusica, 13 July 2015 

  “Bottom was sung by British bass Brindley Sherratt with welcomed authority and wit.”
  Michael Milenski, Opera Today, 21 July 2015 

  “…the pompous and gravely voiced Bottom of bass Brindley Sherratt…”
  Stephen J. Mudge, Opera News, October 2015

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  06 May 15 Stravinsky The Rake's Progress
  Metropolitan Opera, New York

  “Bass Brindley Sherratt made his Met Opera debut as Anne’s father, and sounded great with an easy charm.”
  George Grella, New York Classical Review, 02 May 2015

  “Brindley Sherratt grumbled with fine urgency and a Sarastro-worthy basso in the plaints of Trulove Senior.”
  Martin Bernheimer, Financial Times, 04 May 2015

  “In his Met debut as Anne Trulove’s censorious father, the bass Brindley Sherratt, makes a worthy impression.”
  David Finkle, Huffington Post, 03 May 2015

  “Brindley Sherratt brought his strong bass to Trulove – a welcome return to New York after last year’s powerful portrayal of Claggart in Glyndebourne’s Billy Budd.”
  David M. Rice, Classical Source, 01 May 2015

  “As Anne Trulove’s father, Brindley Sherratt sounded poised, protective, and steady in his Met debut.”
  Rebecca Lentjes, Bachtrack, 03 May 2015

  “As Anne Trulove’s father, Brindley Sherratt sounded poised, protective, and steady in his Met debut.”
  Rebecca Lentjes, Bachtrack, 03 May 2015

  “Brindley Sherratt is fittingly imposing as Anne’s father.”
  Ronni Reich, New Jersey Star-Ledger, 08 May 2015

  “Brindley Sherratt struck a strong presence in his Met Opera debut as Anne’s father Trulove. His sang with tenderness and expressed a sense of overprotection of his daughter. Even his opening exchange with Tom, in which he tells Tom that he will not have her marry a lazy man, was filled with an ominous tone that clearly set the two men at odds.”
  David Salazar, Latin Post, 10 May 2015

  “Brindley Sherratt made a properly disapproving Trulove.”
  John Rockwell, Opera, July 2014

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  28 Nov 14 Handel Messiah
  Handel & Haydn Society/Harry Christophers

  “No performance of Messiah would be complete without a robust bass, and H&H’s performance Friday night provided one in Brindley Sherratt. His recitative ‘Thus sayeth the Lord’ was earth-shaking in its power and declamation. Solid in all of his moments of the oratorio, the singer found the palpable foreboding in ‘For behold, darkness shall cover the earth’ and his voice swelled with intensity to complement Jesse Levine’s brilliant trumpet playing in ‘The trumpet shall sound,’ the phrases carrying the emotional strength of a preacher’s Sunday sermon.”
  Aaron Keebaugh, Boston Classical Review, 29 November 2014 

  “The soloists excelled in conveying the message of Charles Jennens’s libretto… Bass Brindley Sherratt held his score by his side and glared at the audience like an Old Testament prophet. He sang with that kind of authority too, cutting through Levine and Perfetti with no difficulty in “And the trumpet shall sound.” ”
  Jeffrey Gantz, Boston Globe, 01 December 2014 

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  15 Sep 14 Verdi Rigoletto
  Royal Opera House, Covent Garden

  “It would be hard to imagine a more black-hearted assassin than Brindley Sherratt’s baleful Sparafucile”
  Mark Valencia, What’s on Stage, 13 September 2014

  “Brindley Sherratt [was] satisfyingly full voiced…”
  Mark Pullinger, Bachtrack, 13 September 2014

  “Brindley Sherratt was a suitably dark-voiced Sparafucile.”
  Tully Potter, Classical Source, 12 September 2014

  “Brindley Sherratt’s Sparafucile [is] powerfully delineated.”
  Michael Church, The Independent, 15 September 2014

  “Brindley Sherratt’s tried and tested, jet-black Sparafucile remains outstanding.”
  David Gutman, The Stage, 15 September 2014

  “Brindley Sherratt’s black, oily bass lavished more classy singing on the homicidal Sparafucile than the thug probably deserved.”
  Steve Silverman, Opera Britannia, 15 September 2014

  “…excellent support from British bass Brindley Sherratt as the assassin Sparafucile.”
  William Hartston, Daily Express, 16 September 2014

  “…Brindley Sherratt’s Sparafucile stand[s] out…”
  Fiona Maddocks, The Guardian, 21 September 2014

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  19 May 14 Verdi Macbeth
  Orchestra of the English National Opera/Gardner (Chandos CD, 2014)

  “Brindley Sherratt’s noble bass helps him draw a Banquo of considerable distinction, his aria shortly before his assassination a genuine highlight of the set.”
  George Hall, BBC Music Magazine, June 2014

  “Brindley Sherratt as a sonorous, imposing Banquo; his duets with Keenlyside are immaculately phrased, their voices always synchronised.”
  Ralph Moore, Musicweb International, 2014

  “Brindley Sherratt’s baleful Banquo [is a] positive asset.”
  Rupert Christiansen, The Telegraph, 24 April 2014

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  12 Apr 14 Elgar The Apostles
  BBC Symphony Orchestra/Sir Andrew Davis

  “Judas was clearly the character that most fascinated Elgar, and it’s largely through his increasing importance as the work goes on that it acquires the coherence and momentum that are noticeably lacking in the early sections, and which provides its fierce climax with his death. It’s also the most rewarding role to sing, and Brindley Sherratt, direct and communicative, certainly made the most of the opportunities that provided.”
  Andrew Clements, The Guardian, 13 April 2014

  “Brindley Sherratt’s Judas skillfully mixed cynicism, covetousness, shame, and despair and Davis really nailed the monstrous black chord that precedes Judas‘ descent into oblivion. How chillingly Sherratt’s final note evoked impenetrable darkness.”
  Edward Seckerson, The Arts Desk, 13 April 2014

  “And the Judas.  Thank goodness we had Brindley Sherratt, a bass more than up to the challenge of the intellect, the inner passion and the torment of the man as Elgar portrays him.  This was the performance of the evening.”
  Hilary Finch, The Times

  “Brindley Sherratt and Gerald Finley were no less outstanding musically as Judas and Peter respectively. But there was a more evident human search on their part, especially in Sherratt’s more declamatory style and in his probing Hamlet-like soliloquy upon the fate of man after Judas betrays Jesus. There was also a wearied maturity in Sherratt’s realisation that reminded of Kurt Moll as Gurnemanz.”
  Curtis Rogers, Classical Source, 12 April 2014

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  17 Feb 14 Britten Billy Budd
  Brooklyn Academy of Music (Glyndebourne Festival on Tour)

  “…the mysterious master-at-arms John Claggart, here the chilling, earthy bass Brindley Sherratt.”
  Anthony Tommasini, New York Times, 09 February 2014

  “Sheratt’s Claggart is so strong he seemed to provoke a few amusing hisses at the roof-rattling curtain call.”
  David Finkle, Huffington Post, 17 February 2014

  “John Claggart…sung by Brindley Sherratt with a dark bass voice suggesting that he’s a Fafner in training.”
  David Patrick Stearns, WQXR, 10 February 2014

  “Brindley Sherratt’s powerful and complex characterization of Claggart…  Sherratt’s penetrating bass voice never flagged in the long-sustained notes that end many of his phrases. His character’s sadism was matched only by the smugness and self-assurance with which he falsely accused Budd of insubordination, treason and mutiny.”
  David M. Rice, Classical Source, 09 February 2014

  “Brindley Sherratt, a superb Claggart, brought out the character’s similarity to Hagen, especially when delivering lines chillingly in even, uninflected tones, as Wagner’s villain does in his Watch.”
  George Loomis, Opera, April 2014

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  20 Nov 13 Mozart Die Zauberflöte
  Wiener Staatsoper

  “Brindley Sherratt verleiht dem Sarastro markante Basstöne.”
  Christoph Irrgeher, Wiener Zeitung, 18 November 2013

  “…machtvollen Bass Brindley Sherratt…”
  Wilhelm Sinkovicz, Die Presse, 18 November 2013

  “Brindley Sherratt, als Sarastro singt ihn mit weicher, profunder Tiefe.”
  Helmut Christian Mayer, Opernnetz, 18 November 2013

  “Sarastro (Brindley Sherratt, with a clear-cut timbre) appeared on stilts , towering over his mobster-like entourage.”
  Gerhard Persche, Opera, March 2014

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  12 Aug 13 Britten Billy Budd
  Glyndebourne Festival Opera

  “[Billy’s] nemesis is Brindley Sherratt, transcending his usual level of excellence to create a Claggart whose malevolence is all the more chilling for being so contained and purposeful. The word ‘love’ can rarely have sounded nastier than it does in his mouth.”
  Rupert Christiansen, The Telegraph, 12 August 2012

  “There’s no doubting the sinister force of Brindley Sherratt’s Claggart however, whose menacing physicality is offset by the beauty of his tone. His villain is all the more potent for his musical appeal, incongruous to magnificent effect in a moment such as his ‘Let him crawl,’ of the recently-beaten Novice”
  Alexandra Coghlan, The Arts Desk, 11 August 2013

  “Brindley Sherratt was making his role debut as Claggart, singing with incisive phrasing and glowering menace; his paean to beauty can seldom have sounded so threatening.”
  Melanie Eskenazi, Music OMH, 11 August 2013

  “The central characters are peerlessly played. We watch the evolution of Brindley Sherratt’s satanic Claggart as he stifles the sexual attraction he feels for his victim…”
  Michael Church, The Independent, 12 August 2013

  “Brindley Sherratt’s magnetic performance as the master-at-arms Claggart. His attraction to the handsome and innocent new recruit Billy Budd is barely articulated in the text, and yet in this performance we sense it’s the chink in Claggart’s armour that is the key to a deep self-loathing.”
  Edward Bhesania, The Stage, 12 August 2013

  “Brindley Sherratt is evil-personified as Claggart – prowling the stage menacingly and unwavering in his desire to destroy Billy Budd. His voice is as black as his soul, a nihilistic Iago-like character who also exudes ‘motiveless malignancy’ from every pore.”
  Keith McDonnell, What’s on Stage, 12 August 2013

  “Brindley Sherratt sings Claggart, the sadistic sergeant-at-arms whose passion for Billy leads to a twisted need to destroy him, the deep resonances of his sepulchral bass matching the malevolent physicality of an interpretation that retains a painfully self-hating humanity while outlining a full-scale demonic being.”
  George Hall, The Guardian, 12 August 2013

  “Britten’s music is often sublime: Brindley Sherratt summoned up the combination of cantabile beauty and patent evil.”
  David Karlin, Bachtrack, 11 August 2013

  “Brindley Sherratt’s strongly sung Claggart, who is more convincing than his predecessor as the Devil on earth and manages to prowl the deck without degenerating into a comic-book villain.”
  Richard Fairman, Financial Times, 12 August 2013

  “Brindley Sherratt had to depict one of the most unpleasant characters in the whole of opera. Melville originally saw Claggart as a malign character lacking any discernible motive in the Iago or Scarpia mould but Crozier and Britten added additional layers of complexity. Sheratt really took us into the heart of darkness in the aria, ‘Oh beauty, oh handsomeness, goodness’ with the self-loathing and sexual sadism of the character spilling out. He seemed to find just the right balance between menace and creepy seductiveness.”
  Robert Beattie, Seen and Heard, 12 August 2013

  “Brindley Sherratt is quite superb as the evil Claggart, whose combination of envy and suppressed lust for Billy Budd makes him determined to have the young man put to death.”
  William Hartston, Daily Express, 13 August 2013

  “The formidable Brindley Sherratt, meanwhile, is granite-like and baleful as Claggart, the HMS Indomitable’s loathed (and loathsome) Master-at-Arms. Sherratt’s very stillness is fearsome, as is the dark hue with which he colours his resonant bass timbre.”
  Mark Valencia, Classical Source, 14 August 2013

  “It’s Sherratt, though, who gives this revival an extra kick. Conniving evil drips from each syllable, even his baldness becomes malevolent.”
  Geoff Brown, The Times, 14 August 2013

  “Brindley Sherratt’s Claggart demonstrated his ability to personify the evil in this twisted character.”
  Michael Kennedy, Opera, October 2013

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  20 Jun 13 Britten Gloriana
  Royal Opera House, Covent Garden

  “Brindley Sherratt’s Blind Ballad Singer is a superb cameo.”
  Andrew Clements, The Guardian, 21 June 2013

  “…there are notably strong contributions from the lower voices of Mark Stone (Mountjoy) [and] Brindley Sherratt (Ballad Singer)”
  Rupert Christiansen, The Telegraph, 21 June 2013

  “Brindley Sherratt has just one scene as the Blind Ballad-Singer, but his deep bass voice, with its exquisite mastery of dynamic variation, leaves an impression that far exceeds the size of his role.”
  Sam Smith, Music OHM, 23 June 2013

  “Brindley Sherratt was exceptional in the role [of the Blind Ballad Singer]”
  Mark Valencia, Classical Source, 22 June 2013

  “Brindley Sherratt makes a tour de force cameo appearance as the Blind Ballad-Singer.”
  Keith McDonnell, What’s on Stage, 24 June 2013

  “…a vivid cameo as the Blind Ballad-Singer…”
  John Allison, Opera, August 2013

  “Brindley Sherratt is luxury casting as the blind ballad-singer.”
  Clive Paget, Limelight, 06 July 2013

  “…the Blind Ballad Singer Brindley Sherratt[‘s] voice carried magnificently in all parts of the house.”
  Mike Reynolds, Musical Criticism, 02 July 2013

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  16 Apr 13 Mozart Die Zauberflöte
  Royal Opera House, Covent Garden

  “Brindley Sherratt’s Sarastro is one of the best this production has seen. Every note is there, in measured, authoritative, yet tender tones.”
  Hilary Finch, The Times, 17 April 2013

  “The wonderfully authoritative Brindley Sherratt as Sarastro.”
  Metro, 18 April 2013

  “Brindley Sherratt’s finely dignified and down-to-earth Sarastro.”
  Simon Thomas, What’s on Stage, 17 April 2013

  “Brindley Sherratt’s Sarastro remained still and serene…”
  Hannah Sander, Classical Source, 17 April 2013

  “Brindley Sherratt shines as Sarastro with his sumptuous bass voice…”
  Sam Smith, Music OHM, 18 April 2013

  “His voice is the perfect weight for the role and he plumbs the vocal depths without problems. ‘O Isis und Osiris’ was particularly beautiful. Following on from his excellent Creon in the ENO Medea, Sherratt is having a very successful season indeed.”
  Sebastian Petit, Opera Britannia, 17 April 2013

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  12 Apr 13 Handel (arr. Mendelssohn) Acis and Galatea
  Oxford Philomusica/Darlington (Nimbus CD, 2013)

  “In ‘O ruddier than the cherry’, Brindley Sherratt (Polyphemus) is on stupendous form.”
  Malcolm Riley, Gramophone, March 2013

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  15 Feb 13 Charpentier Médée
  English National Opera

  “Brindley Sherratt’s superb, pompous King Creon.”
  Richard Morrison, The Times, 17 February 2013

  “Accomplished singing from Brindley Sherratt [as] Creon.”
  Rupert Christiansen, The Telegraph, 17 February 2013

  “…the imposing Brindley Sherratt…”
  Matthew Ingleby, Play to See, 16 February 2013

  “The ever-resonant bass of Brindley Sherratt oozed vocal velvet as Creon, King of Corinth.”
  Mark Valencia, Classical Source, 16 February 2013

  “Brindley Sherratt’s warm bass in the role of Creon…”
  Julia Savage, Bachtrack.com, 18 February 2013

  “Brindley Sherratt putting in a fine performance as Creon.”
  William Hartston, The Express, 18 February 2013

  “Creon (Brindley Sherratt, outstanding) is an army commanding officer.”
  Andrew Clark, Financial Times, 18 February 2013

  “Brindley Sherratt’s sonorous Creon was, as ever, gratifyingly direct.”
  Erica Jeal, Opera, April 2013

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  21 Jan 13 Beethoven Fidelio
  Glyndebourne Festival Opera

  “Rocco…comes across as a more important player here, thanks to Brindley Sherratt’s compelling portrayal of a man caught between good and evil.”
  Richard Fairman, The Financial Times, 06 July 2006

  “…a sympathetic and nicely detailed performance from Brindley Sherratt.”
  Hilary Finch, The Times, 06 July 2006

  “The supporting cast is excellent too, especially Brindley Sherratt…”
  Warwick Thompson, Bloomberg News, 07 July 2006

  “…exquisitely sung by Sherratt…”
  Anna Picard, The Independent, 11 July 2006

  “Brindley Sherratt’s Rocco has the low notes as well as the acting skills on which this kind of reworking relies.”
  David Gutman, The Stage, 06 July 2006

  “The playing was superb and the singing strength impressive: Brindley Sherratt’s Priam doughty and world-weary.”
  Paul Driver, The Sunday Times, 03 June 2012

  “Brindley Sherratt portrays the jailer Rocco with subtle depth.”
  John Allison, The Telegraph, 15 July 2006

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  25 Jun 12 Berlioz Les Troyens
  Royal Opera House, Covent Garden

  “Brindley Sherratt makes an excellent Narbal”
  Andrew Clark, Financial Times, 26 June 2012

  “[A] fine contribution from Brindley Sherratt as a gnarled old Narbal”
  Andrew Clements, The Guardian, 26 June 2012

  “[An] outstanding cameo from Brindley Sherratt as wise old Narbal”
  John Allison, The Telegraph, 29 June 2012

  “…strong support from Brindley Sherratt (Narbal)”
  Anna Picard, Independent on Sunday, 01 July 2012

  “[An] admirable contribution from Brindley Sherratt, whose Narbal is notable for its mellifluous gravitas…”
  Barry Millington, The Evening Standard, 26 June 2012

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  08 Jun 11 Verdi Simon Boccanegra
  English National Opera

  “Best of all was Brindley Sherratt, whose Fiesco was from start to agonized finish a tour de force of precise diction, musical sensitivity and dramatic intensity.”
  Roger Parker, Opera, August 2011

  “The star for me easily, and throughout the evening was Brindley Sherratt’s easy bass hitting every note and every mood with the precision of an exocet.  His Fiesco was strong, brooding and so right.”
  Christopher Monk, Musical Opinion, September/October 2011

  “A superb performance from Brindey Sherratt as Fiesco, displaying a rich, powerful and well-focused bass.”
  Keith Clarke, Musical America, 10 June 2011

  “Brindley Sherratt is a properly authoritative Fiesco.”
  Rupert Christiansen, the Telegraph, 10 June

  “…top of the pile vocally, was ENO stalwart Brindley Sherratt, whose Fiesco was powerful and fabulously resonant. Unusually sympathetic even in the Prologue.  Sherratt was most poignant in the final act, particularly in heart-rending duet with the dying Boccanegra.”
  Flora Willson, Musical Criticism, 09 June 2011

  “Brindley Sherratt’s outstanding Fiesco has a voice gravid with festering anguish.”
  Barry Millington, The Evening Standard, 09 June 2011

  “Top-notch Verdi singing [from] stalwart bass Brindley Sherratt as patrician Fiesco.”
  David Nice, The Art’s Desk, 09 June 2011

  “Sherratt’s inky-black bass seeps into Fiesco’s darkest internal recesses.”
  George Hall, The Guardian, 09 June 2011

  “Brindley Sherratt displayed wonderful vocal control and clarity as Boccanegra’s sworn enemy, Jacopo Fiesco.”
  William Hartston, Daily Express, 16 June 2011

  “The most effective contribution comes from Brindley Sherratt’s Fiesco, whose bass sounds authentically Verdian.”
  Andrew Clark, Financial Times, 09 June 2011

  “Brindley Sherratt [is on] top form.”
  Warwick Thompson, Bloomberg, 10 June 2011

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  19 Jun 10 Wagner Die Meistersinger von Nürnburg
  Welsh National Opera

  “Brindley Sherratt must be singled out for his tremendous achievement as Veit Pogner. Mr. Sherratt has a bass-baritone of enjoyable timbre and considerable power, which he deploys with great security as well as sensitivity. His prowess in the role suggests that he, too, may have a fine Sachs within him.”
  James Sohre Opera Today, 11 July 2010

  “The richest sounds come from Sherratt, whose gorgeous legato makes Act I a treat.”
  Anna Picard, The Independent, 27 June 2010

  “Brindley Sherratt brought his customary dignity to the role of Veit Pogner.”
  Rian Evans, Classical Source, 28 June 2010

  “Brindley Sherratt was impressive as Pognor.”
  Michael Kennedy, Opera, August 2010

  “Brindley Sherratt’s sterling Pognor…”
  Richard Morrison, The Times, 21 June 2010

  “Brindley Sherratt was a very fine and non-decrepit Pogner. His moments of self doubt about the course he has set were genuinely moving.”
  Sebastian Petit, What’s on Stage, 01 July 2010

  “Brindley Sherratt, noble and intelligent of phrase in his long Act One narrative.”
  David Nice, The Arts Desk, 20 June 2010

  “Brindley Sherratt makes an exemplary Pognor.”
  George Hall, The Stage, 21 June 2010

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  24 Jan 09 Wagner Tristan und Isolde
  Swedish Radio Symphony Orchestra/Harding

  “The intense sounding bass of Brindley Sherratt (King Marke) constituted excellence in this musical dramatic triumph.”
  Thomas Anderberg, Dagens Nyheter, 26 February 2009

  “Brindley Sherratt supplied us with the most intense sections, especially due to the bass clarinet contributions.”
  Lars Sjöberg, Expressen, 25 February 2009