Press Acclaim for BRUCE  SLEDGE:


As Vladimir in The Impresario, and The Fisherman in Le Rossignol at Santa Fe Opera

“Bruce Sledge sang with appealing lyricism as Vlada's henpecked husband, then performed to glorious poetic effect as the Fisherman”

Simon Williams, Opera News, November 2014

As the Duke of Mantua in Rigoletto at Boston Lyric Opera

“Tenor Bruce Sledge sang the role of the Duke with fluidity and ardor…”

Jeremy Eichler, The Boston Globe, MARCH 16, 2014

 “As the Duke of Mantua, his [Bruce Sledge’s] voice came off strong and nimble with a dexterous feel for Verdi’s style. He delivered the famous “La donna è mobile” with crispness, and his sweet, cooing arias to the various women in the story gave the diabolical character a charming veneer.”

Aaron Keebaugh, Boston Classical Review, March 15, 2014 at 2:02 pm

As the Earl of Leicester in Maria Stuarda at Welsh National Opera

“Bruce Sledge is all the same in fine, ringing voice, with that spinto quality.”

Stephen Walsh,, Saturday, September 14, 2013

 “Elizabeth and Mary both have their desires set on the Earl of Leicester and, thanks to Bruce Sledge’s charming performance in this role, the audience can understand why.”

Jacqui Onions, The Public Reviews, September 14 2013

“Bruce Sledge as Leicester singing with a gloriously heroic tone, and their duet in Act II was a beautiful moment.”

Mark Ronan, September 14, 2013

 “Bruce Sledge proved a robust Leicester”

Mike Smith, WalesOnline, September 14, 2013

“The great singing, easy and stylish, comes from Sledge.”

Tim Ashley, The Guardian, September 16, 2013

 “Bruce Sledge sings honorably as Robert, Earl of Leicester, who here is in love with Mary and (unfortunately for Mary) the object of the jealous Elizabeth’s affections.”

George Loomis, The New York Times, September 17, 2013

As Paolo Erisso in Maometto Secondo at Santa Fe Opera:

 Erisso, the leader of the Venetians in Negroponte (here the clarion-voiced, impressive tenor Bruce Sledge) …”

Anthony Tommasini, The New York Times, July 30, 2012


“What tenor shortage? As in the company’s other productions this year Santa Fe Opera served up yet another terrific high-voiced singer. Bruce Sledge sang Erisso with vibrancy, a rich Italianate timbre, and thrilling top notes.”

Lawrence A. Johnson, Classical Review, August 3, 2012


The opera demands four singers who can expertly shape Rossini coloratura into dramatic characterization, but only tenor Bruce Sledge (Erisso) was consistent and interesting.”

Heidi Waleson, Wall Street Journal, August 13, 2012


“Tenor Bruce Sledge as Anna’s father, Erisso, offered a powerful voice and ringing high notes.”

Sarah Bryan Miller, St Louis Post Dispatch, August 11, 2012


But it's the singing that counts most here, and the cast is splendid.  […]  As Anna's father, tenor Bruce Sledge displays a bright, attractive sound and superb technical skills.”

Mike Silverman, Associated Press, August 5, 2012


“Also impressive was Bruce Sledge as Paolo, who poured out the warrior's resolve with a clear, shining tenor and commanding coloratura.”

John von Rhein, Chicago Tribune, August 4, 2012


“Anna's father, Erisso, is the leader of the Venetians in Negroponte. Tenor Bruce Sledge sings the role with ringing sound that puts the piddly brass in the orchestra to shame. He also negotiates the coloratura hurdles Rossini constantly places in his way with easy and dramatic flair.”

Gregory Sullivan Isaacs, Theater Jones, August 3, 2012


“By the time Maometto arrives on the scene, the audience has already been duly impressed by the rest of the cast. Tenor Bruce Sledge, in the immensely demanding part of Paolo, is not less impressive than Pisaroni. Though agile, his voice is dark for a Rossini tenor, yielding an interpretation that is both honeyed and heroic — an ideal combination for this leader who strives to balance concern for his daughter with the ruthlessness of battle. He is unswerving in his military standards, but his heart has not crusted over, as we hear in Act II when Sledge spins out the Mozartian line of ‘Tenera sposa,’ a lament addressed to his late wife. He sang everywhere with absolute authority. I doubt that the male leads in this opera could be better cast in the world today.”

James M. Keller, The New Mexican, July 15, 2012


“Tenor Bruce Sledge has also sung at the Met. His repertoire consists of mostly lyric parts. But the large sound he projected in this opera suggests that he could easily move on to heavier roles. His singing of Erisso, Anna’s father, was secure and technically adroit. His sound is well produced. Rossini’s fireworks gave him no problem.”

Neil Kurtzman, Medicine & Opera, July 15, 2012


“Another great surprise was tenor Bruce Sledge, whose big, clear voice displayed flexibility and shine.”

Sebastian Spreng, Knight Arts, August 11, 2012


“Bruce Sledge is Anna’s tormented father, an energetic role he dispatches with finesse.”

John Stege, SF Reporter, July 18, 2012


Bruce Sledge played Anna’s father Paolo Erisso and was robust and flexible.”

Brian Holt, Out West Arts, July 29, 2012


Tenor Bruce Sledge conferred nobility on the role of Erisso.  […]  Each character had moments of beauty, but Maometto achieves greatness in Rossini’s trios, sung with elegant line by Pisaroni, Crocetto, and Sledge.”

Georgia Rowe, San Francisco Classical Voice, July 31, 2012


 As Count Almaviva in Il barbiere di Siviglia at Opera Grand Rapids

 His handsome tenore di grazia voice would melt the heart of any senorita if she found him serenading beneath her window singing while accompanying himself very capably on guitar.

Jeffrey Kaczmarczyk, GR Press, April 2011


As Tamino in Die Zauberflöte at Manitoba Opera

“Sledge has a true hero's voice and demeanour. In Dies Bildnis ist bezaurbernd schön, he poured his heart into his singing, flowing phrases imbued with passion.”

David Lipnowksi, Winnipeg Free Press, April 2011


As Earl of Leicester in Maria Stuarda at Minnesota Opera

“Tenor Bruce Sledge gave a far subtler and more nuanced vocal performance as Leicester than we're accustomed to in this role…”

Michael Anthony, Opera News, April 2011


 “Bruce Sledge’s rich tenor gives weight to the wounded affections of Robert, Earl of Leicester’s convictions.”

Brad Richason, The Examiner, January 2011


As Ferrando in Così fan tutte at the Metropolitan Opera:

“Christie only relaxed for ‘Un aura amorosa,’ well sung by Bruce Sledge, a last-minute replacement for Pavol Breslik. The American tenor has a better technique than his colleague has exhibited locally.”


As the Duke of Mantua in Rigoletto with the Vancouver Opera:

“He showed that he is indeed a tenor of considerable strength and impressive artistry.”

Bernard Jacobson, Opera, July 2009


As  the Tenor Soloist in Schubert’s Mass in E flat Major with the San Francisco Symphony:

“And then there are passages of sheer Schubertian bliss, lyrical effusions of that effortless kind that you find in some of the late songs and partsongs.  The ‘Et incarnatus est’ of the Credo — a trio for two tenors and soprano in which each in turn takes up the theme while the others weave melodic tendrils around it — is one such. Tenors Bruce Sledge and Nicholas Phan, joined by soprano Laura Aikin, made a magical thing of it.”

Michelle Dulak Thomson, San Francisco Classical Voice, June 10, 2009


As the Duke of Mantua in Rigoletto with the New Orleans Opera:

“Bruce Sledge sailed through the tessitura challenges of the Duke and was a believable ruler.”

Jack Belsom, Opera, September 2008


As Nemorino in  L’elisir d’amore with the San Antonio Opera

Bruce Sledge, a bel canto tenor with a silky, almost sensual voice, won over his audience at Friday night's San Antonio Opera with his rendition, his voice cresting effortlessly, his mannerisms clean and stripped of artifice.

It was a uniquely intimate moment in a production that had — until that point — been about showmanship and good times. And it worked perfectly.


As Don Ottavio in Don Giovanni with the New York City Opera:

 Bruce Sledge offered a vocally polished Don Ottavio that showed good breath control in the aria ‘Il mio tesoro.’”

George Loomis, The Sun, September 10, 2007


As Tonio in La Fille du Régiment with the Teatro Municipal, Santiago de Chile:

 “Bruce Sledge is an exceptional tenor.  While it night have been more interesting to hear him in Rossini, it was a pleasure to have an Italianate Tonio with secure technique and high notes.  We hope to soon hear him again, since the Teatro Municipal has been mounting Rossini operas at an excellent level; perhaps it is now time to take a chance with the Swan of Pesaro’s works from his Neapolitan period.”

Cristóbal Astorga Sepúlveda, Tiempo de Musica, June 2007


“Tenor Bruce Sledge mastered the technical difficulties of the work.  The nine high Cs of ‘Ah mes amis’ were sung in an outstanding way and the rest of the aria was delivered with the necessary taste.  His second solo ‘Pour me rapprocher de Marie’ was also pleasing, thanks especially to its ending with a beautiful pianissimo.  His performance was greatly rewarded by the audience.”

Francisco Marin, Opera Click, June 19, 2007


As Tonio in La Fille du Régiment with the Teatro dell’Opera, Rome:

 “Bruce Sledge showed once more that he is not just a promising artist but one of the rare tenors ‘di agilità’ for this repertoire.  The challenge was obviously ‘Ah, mes amis’: he displayed all the necessary vocal agility, without trying to show off, in going up to as much as coming off the terrifying high Cs.  The duet ‘Depuis l’instant où dans mes bras’ was sung with real brio: Sledge’s cantabile singing was particularly soft, whereas the second half was brilliant in the moments where the tenor and the soprano first alternate, then sing together.”

Giuseppe Pennisi, Operaclick, May 18, 2007


“Tonio, is Bruce Sledge, a young American tenor of enormous promise. He has a golden, agile voice, and throws off the fearsome nine ‘do di petto’ in the cabaletta Pour mon âme with considerable nonchalance.”

John Fort, Wanted in Rome, May 17, 2007


As Alfredo in La Traviata with New York City Opera:

 "Best of all was the tenor Bruce Sledge, whose bright, fresh voice complemented a finely shaded portrayal of Alfredo's transition from love-struck youth to repentant hothead."

Steve Smith, The New York Times, April 13, 2007


As Elvino in La Sonnambula with the Florida Grand Opera:

“As Elvino, Bruce Sledge displayed a plangent lyric tenor, assured stage presence and great facility in Bellini’s long lines.  His refined vocalism handled the considerable demands faultlessly, throwing off top C’s and D’s with ease and blending fluently with Partridge in their duets.”

Lawrence A. Johnson, Miami Herald, February 11, 2007


As the title role in Werther with the Vancouver Opera:

 “This was an impediment-free evening, with terrific performances from the principals, particularly from Bruce Sledge in the title role…”

Bill Richardson, The Georgia Straight, October 19, 2006


“Tenor Bruce Sledge […] sang beautifully…”

Lloyd Dykk, Vancouver Sun, October 16, 2006


As the Italian Singer in Der Rosenkavalier with the Lyric Opera of Chicago:

“Bruce Sledge (Italian Singer) and Christian van Horn (Police Commissioner) were particularly notable, dramatically and vocally.”

Sarah Bryan-Miller, Musical America, February 10, 2006


As the Shepherd in Oedipus Rex with the San Francisco Symphony:

 “Bruce Sledge sang movingly as the Shepherd, and his more lyrical tone contrasted beautifully with Skelton’s Heldentenor.

Lisa Hirsch, San Francisco Classical Voice, December 9, 2005


As Léopold in La Juive with La Fenice:

 “Tenor Bruce Sledge, on the other hand, made relatively light work of the extremely difficult role of Léopold.”

Stephen Hastings, Opera News, February 2006


“Bruce Sledge creates a Léopold of great lyrical strength.  The voice is beautiful, high notes soar securely – and there are many of them – and his French diction is near-perfect.”

Alessandro Cammarano, Operaclick, November 18, 2005


“Bruce Sledge moved with ease in the high notes.”

Maria Girardi, Il Giornale della Musica, November 16, 2005


As Almaviva in Il Barbiere di Siviglia with the Santa Fe Opera:

 " Bruce Sledge's Almaviva was more than the usual lovestruck dweeb of operatic fable. He did look something like a Jane Austen hero - a sprucer Mr. Darcy, perhaps - but sang like a man with hot blood in his veins. His fleet, attractive tenor seemed at home in Almaviva's coloratura, and he was funny as all get out in his various disguises - especially as the adenoidal Don Alonso, a spurious music master."

Craig Smith, The New Mexican, July 4, 2005


“Bruce Sledge was an amusing Almaviva, an endearing lover with incredible bravura technique.”

Maria Nockin, Opera Japonica, September 1, 2005


As Leicester in Elisabetta, Regina d’Inghilterra with the Teatro Comunale di Bologna

 “Bruce Sledge, who recently sang Lindoro in Montpellier, is a dramatically credible Leicester and his vocal performance is a delight; never does one feel the slightest effort and, on top of blazing high notes and solid middle and low registers, he offers the cleanest coloratura.”

Maurice Salles, Forum Opéra, May 23, 2005


 “Bruce Sledge was an excellent Leicester; he offered honeyed diction and phrasing in a role that is larger and more “cantabile” than that of his rival Norfolk, while displaying amazing agility.”

Luana d’Aguì, OperaClick, May 13, 2005


As Lindoro in L’Italiana in Algeri with the Montpellier Opera

 “Opposite this true buffo bass was Bruce Sledge’s “contraltino” with his penetrating accents, who offered moments of pure, poetic elegy.”

Jean-Christophe Carré, L’Hérault du Jour, April 8, 2005


As Elvino in La Sonnambula with the Marseille Opera

 “But it is especially with the men that one needs to find exceptional talent in order to be well matched to the diva.  Bruce Sledge as Elvino came through with flying colors: his is a powerful tenor that is capable of nuances.”

Michel Egea, La Provence, 6 November 2004


“The other revelations - how does Renée Auphan manage to discover every month such beautiful new voices? - are without a doubt Bruce Sledge (Elvino) and Tigran Martirossian (Rodolfo).  For the former, mix the voices of Gedda and Vanzo: a terrific natural voice and in turns seductive, generous, electrifying, fresh, free and winning Bel Canto colors.”

Christian Colombeau, Forum Opera, November 12, 2004


As Lindoro in L’Italiana in Algeri with the Paris National Opera

 “Bruce Sledge, making his Paris Opera debut as Lindoro, was the revelation of the evening: beautiful timbre, beautiful projection.”

Jean Charles Hoffelé,, September 11, 2004


As Leicester in Elisabetta, Regina d’Inghilterra with the Rossini Opera Festival, Pesaro

 “Californian tenor Bruce Sledge was a paragon of diction, and his warm voice and easy vocalism were much appreciated in the role of Leicester.”

Stephen Hastings, Opera News, November 2004


“The up-and-coming Bruce Sledge with his brilliant tenor voice as Leicester took vocal honors."

Marianne Zelger-Vogt, Neue Zürcher Zeitung, August 17, 2004


“The rivalry between Leicester and Norfolk was relived in the most positive way by Bruce Sledge and Antonino Siragusa.”

Gian Paolo Minardi, La Gazzetta di Parma, August 9, 2004


As Count Almaviva in Il Barbiere di Siviglia with the Tulsa Opera

“As Count Almaviva, Bruce Sledge demonstrated a wonderfully supple and powerful tenor voice – power and resonance presented without obvious strain – in his two declarations of love to Rosina, “Ecco ridente in cielo,” and “Se il mio nome.” He also took a great deal of delight in portraying the Count’s alteregos – the drunken soldier at the end of Act One, and the pious prattling music teacher Don Alfonso, who put on a wild performance at the keyboard during the music lesson segment.”

James Watts, Tulsa World, March 1, 2004


As Ernesto in Don Pasquale with the New York City Opera

 “Tenor Bruce Sledge offered wonderfully idiomatic singing, with a lovingly lyrical “Com’è gentil”.

William Madison, Opera News, February 2004


As Tonio in La Fille du Régiment with Opera Ontario

 “A young, strapping American tenor, Bruce Sledge, sang the role of Tonio.  It is easy to see why his star is on the ascent.  Sledge fired off his salvo of nine high Cs at the end of ‘Ah mes amis, quel jour de fête’ like no one's business.  Clear, effortless and perfectly on pitch.  Spontaneous applause burst throughout the hall, while the delighted regiment hammered the stage with their muskets.  ‘Pour me rapprocher de Marie’ showed the tender side of his character and was everything it should have been: poignant, expressive, and beautiful.”

Leonard Turnevicius, The Hamilton Spectator, March 31, 2003


As Almaviva in Il Barbiere di Siviglia with New York City Opera

 “The slapstick humor of the first scene had a wonderful musical counterweight in Bruce Sledge as Count Almaviva. This tenor is hot. The basic sound was first rate: solid, round and warm, healthy, and often gorgeous.”

Anne Midgette, The New York Times, October 30, 2002


As Ernesto in Don Pasquale with Los Angeles Opera

 “Tenor Bruce Sledge replaced an ailing Greg Fedderly as Ernesto during three performances. Though relatively unknown, Sledge is the genuine article, a lyric tenor blessed with musicianship, confidence and a beautiful voice. A finalist in Plácido Domingo’s Operalia 2000 World Opera Contest, Sledge is now in his second year with LAO’s Resident Artist program. [Ruth Ann] Swenson’s joy in singing with him was evident during the ravishing Act III duet, ‘Tornami a dir che m’ami.’ Earlier, this marvelous young singer provided two of the bright evening’s brightest highlights: Ernesto’s aria, ‘Cecherò lontana terra,’ and his Act III serenade ‘Com’è gentil.’”

Opera News, August, 2001


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