A national treasure, Greta Bradman is an internationally acclaimed Australian soprano at home on the opera, recital, and concert stage. Greta is an exclusive Decca Classics recording artist. Her debut album for Decca Classics, My Hero, was recorded with Richard Bonynge and the English Chamber Orchestra in London (May 2015). My Hero received five-star reviews internationally and nationally, and enjoyed record breaking chart success, topping the classical, and classical crossover Australian charts for some months, remaining in the top ten for a year, as well as obtaining the highest ever debut position for an Australian operatic/classical album on the general (pop) ARIA album chart. Greta’s follow-up regional and metropolitan tour of “My Hero” consolidated the album’s success even further and is testament to Greta’s dedication to taking classical music to rural regions.

Greta has performed with many orchestras in Australia and the UK, including every Australian state symphony orchestra and a large array of chamber ensembles, choirs, and singers and musicians both in Australia and the UK, USA and Europe. International tours have included with the Australian World Orchestra and Zubin Mehta. She has performed operas conducted by Richard Bonynge, and most recently received critical acclaim for her performances as Mimì in La bohème for Opera Australia in the Sydney Opera House (January–March 2017).

In 2013 Greta was the recipient of the Australian International Opera Award and studied at the Wales International Academy of Voice completing her studies with distinction. Alongside her graduate studies at WIAV (Master of Advanced Vocal Studies) Greta has a Bachelor of Music Degree (performance voice) and a vocal Fellowship from the Australian National Academy of Music. She has an Arts degree (Psychology and Linguistics majors), Honours Degree in Psychology (1st class; Dux) and Master of Psychology (clinical, cont), and graduate diplomas in French and German.
Greta presents the weekly Sunday Morning program on ABC Classic FM. She utilises her psychology training heading up the content and delivery of workshops for the Arts Wellbeing Collective, as a mentor with people working in the performing arts sector, and as a researcher in the area of performance psychology. She is on the board of the Australian Mental Health Prize chaired by Ita Buttrose, is a patron of the St Matthews Music Foundation, an Ambassador of Her Majesty’s Theatre alongside Barry Humphries, and is a faculty member with Alain de Botton’s The School of Life. Greta is a keen proponent of Australian composers and has had works written for her by Peter Sculthorpe, Betty Beath, Ross Edwards, Katy Abbott, Paul Stanhope, Quentin Grant, Calvin Bowman, Tom Henry, Carl Crossin, among others.

In May this year she will record her second album for Decca focused around the subject of ‘Home’, and recorded in her hometown of Adelaide with the Adelaide Symphony Orchestra and Adelaide Chamber Singers conducted by Luke Dollman. It will range from music by Gounod, Dvorák, Mendelssohn and Adams to Barber, Copland and Donald Bradman. Three of the works are especially arranged for this recording by the Australian musical icon, Richard Mills. The album is scheduled for release in September.


“Performances of Rodelinda are often mounted for a soprano with exceptional vocal attributes… In this case, the exceptional talents of Greta Bradman were on display. With a dark mezzo quality in her middle voice and an ability to float her voice when singing soft sustained notes and intricate coloratura passages, she was at times uncannily similar in vocal quality to Sutherland. As Bradman’s mentor and conductor, Richard Bonynge was always sensitive to her intentions. For the da capo of her Act II aria, “Ritorna, o caro bene”, he reduced the orchestra to such an extent that it was possible for her to sing with the finest pianissimo. It will be interesting to see how a voice with such an unusual blend of fascinating substance and agility develops.”
– (Classic Melbourne, Oct 2014)

“Exquisite soprano Greta Bradman made the strongest possible impression, winning a legion of admirers in her role debut as Rodelinda. Throughout the night, Bradman exhibited extraordinary control of her voice. Her skill for beginning phrases with rock-solid pitching of high notes was heard in act two’s “Spietati, io vi giurai”, while her incredible sustained pianissmo was heard in “Ritorna, o caro e dolce mio tesoro”, in which her voice seemed to float upwards on scarcely a whisper of breath. A magnetic stage presence and a great beauty, Bradman’s further appearance in fully staged works is highly anticipated.”
– (SimonParrisManInChair, 2014)

“Soprano Greta Bradman, winner of the 2013 Australian International Opera Award and in the title role of Rodelinda, demonstrated regal splendor and human heart. In Rodelinda’s opening two arias of Act 1, “Ho perduto il caro sposo” and “L’empio rigor del fatto”, Bradman impressed with dramatic expressive shift from loss to determination; the heart and the queen on full display.

“Elegantly poised and in effortless form, Bradman mesmerized with expansive vocal range, piercing strength and accelerative agility from brave, grounded low notes to glistening highs. Later, as Rodelinda realises her husband is still alive, her Act 2 aria “Ritorna, o caro edolce mio tesoro”, exhibited stunning textural layering, a glassy fragility and striking gossamer-like pianissimo. The role is demanding and Bradman was clearly savouring the part all along.”
-(Aussie Theatre, Oct 2014)

“Bradman has rapidly developed a remarkably diverse repertoire and is now well placed, vocally and artistically, to pursue operatic ambitions. Bradman’s signature strengths: a clear and even tone, precise pitch, unobtrusive vibrato, easy phrasing, clear articulation and smooth unforced dynamic shaping [alongside] the spinto characteristics that endow Bradman’s soprano with rare warmth and timbral richness.”
– (The Australian, Eamonn Kelly, August 2013)

“Greta Bradman, in the title role of Theodora, belied the old stereotype about sopranos who can’t act. Her seamless musical performance was strengthened by a dramatic presence that never felt wooden or forced. Bradman produces an extraordinarily rich tone, a colour closer to mezzo than soprano, and her effortless pianissimo notes delighted the audience.”
– (Canberra CityNews, Judith Crispin, June 2013)

“LOADS of natural talent and even more solid, hard work have brought Greta Bradman to a major point in her career. Her concert, “Farewell to Australia – for now”, proved her worthiness as a winner of a lucrative scholarship that will take her to Wales for a year of polishing her already impressive performances.

Bradman was always admired as an intelligent, versatile soprano perfectly suited to the salon. Her voice has grown enormously in range and power, bringing her into the league of grand opera performers.

“Supported by the encyclopedic experience and skill of Compleat Accompanist Andrea Katz at the Steinway, Bradman took on and conquered some of the most demanding operatic arias.

“Only the most confident (or foolhardy, and she is not that) of singers would open a recital with the demoniacal Queen of the Night’s coloratura arpeggios all the way to top F. She was scintillating.

“…Lighter touches – Summertime, If you wish upon a Star – served to remind the entranced audience that it was a human being who was making all those wonderful noises and not a Greek goddess”
– (The Advertiser, Elizabeth Silsbury, July 2013)

“FOR a country that tends to accord classical vocal music little popular attention, Australia is a fertile source of raw operatic talent. Sadly, only a fraction of that talent successfully progresses to full-time professional careers.

“In practice, Bradman has rapidly developed a remarkably diverse repertoire and is now well placed, vocally and artistically, to pursue operatic ambitions.

“This potential was revealed with astonishing clarity in this intimate art-song recital. Titled Of Quiet Places, the program was framed by a trio of rapturously lyrical Belle Epoque favourites by Reynaldo Hahn and Gabriel Faure, with the remainder devoted to contemporary and rather less docile musings by George Crumb, Ross Edwards and Robert Beaser on the poetry of Walt Whitman, Judith Wright and William Butler Yeats, respectively.

“Opening with the shimmering tranquillity and pristine, neo-baroque simplicity of Hahn’s A Chloris, Bradman immediately instilled proceedings with a sense of gentle introspection, her measured and unadorned account creating an impression of wistful vulnerability. Making such an illusion possible was Bradman’s signature strengths: a clear and even tone, precise pitch, unobtrusive vibrato, easy phrasing, clear articulation and smooth, unforced dynamic shaping.

“Faure’s Automne signified a shift into more impassioned territory, providing the first opportunity to hear the spinto characteristics that endow Bradman’s lyric soprano with rare warmth and timbral richness. Her middle register proved particularly intoxicating in its vibrancy and power, while a nuanced and sensitive interpretation revealed her considerable skills as a colourist.

“The ensuing bracket, dedicated to the works of living composers, further demonstrated Bradman’s vocal flexibility and musical maturity. Crumb’s Apparition provided the program’s dramatic focus, with the singer excelling in the cycle’s extremes of emotion, range and dynamics.

“Equally impressive was the lyricism Bradman injected into this and the other contemporary items, revealing genuine empathy for repertoire all too often rendered with shrill detachment. This allowed for a clearer focus on the poetic text and here again she proved an astute interpreter, gently drawing poignant dramatic associations in Apparition and Edwards’s Five Senses without recourse to histrionics.”

– (The Australian, Eamonn Kelly, August 2013)

“Greta Bradman, in the title role of Theodora, belied the old stereotype about sopranos who can’t act. Her seamless musical performance was strengthened by a dramatic presence that never felt wooden or forced. Bradman produces an extraordinarily rich tone, a colour closer to mezzo than soprano, and her effortless pianissimo notes delighted the audience. Bradman particularly shone in her aria “Oh, that I on wings could rise”, delivered with tragic dignity and expressiveness.“
(Canberra City Messenger, June 2013)

“It was fascinating to hear how Greta Bradman’s voice has deepened and become more richly complex since I last heard her sing in Canberra. It is a voice with distinctive colours and enunciation, and her considered approach to her solos mark her as a singer to be observed closely as her career progresses.
– (Canberra Times, June 2013)

“Greta Bradman was the star. A sylph-like figure in black, she sang Wagner’s Wesendonck Lieder and songs by Alma Mahler, Zemlinsky, Berg and Richard Strauss as if they were composed for her. …as a maturing singer whose voice seems only to gain further in richness and depth, she was glorious.”
– (The Australian, May 2013)

“…the hero was undoubtedly soprano Greta Bradman, whose recently found vocal riches in the lower tessitura of her voice were on full display as she took on a lion’s share of programmed works. …[Her performances of Berg’s Sieben Fruhe Lieder and Strauss’ Vier Letzte Lieder] contrasting dramatic strength and sensitivity of the most acute kind in performances that drew every last meaning and nuance from these wonderfully emotional utterances.”
– (The Advertiser, May 2013)

“Greta Bradman’s Prologue as La Musica was rich-voiced, highly expressive and tastefully ornamented.”
-(ArtsHub, May 2013)

“Soprano Greta Bradman sang Mozart’s Dove sono with flawless intonation, and fluid phrasing.”
– (Sydney Morning Herald, February 2013)

“Bradman began with No, no, che non sei capace, a taxing five minutes of vocal display here infused with impressive character. But the singer made an even greater impression in Popoli di Tessaglia, notorious for its two top Gs in the final stretch. Bradman negotiated this aria’s emotional storms and technical obstacle course with conviction, her upper range steady and full…”
-(The Age, May 2012)

Beautiful in basic black, Bradman commanded the stage. Her voice is powerful without being strained, and her resonant legato was secure about the pizzicato and driving rhythm of the first violin. …Her diction, secure high notes and equal command of the lower register were all noteworthy, but above all was the conveying of emotion.
-(Arts Hub, November 2012)

“Greta Bradman’s lovely voice, her facility with contemporary composition techniques and her innate sense of theatre ensured finely tuned deliveries”
– (The Advertiser, November 2012)

“Bradman is a thrilling young award winning soprano who is going places. She inhabits the songs she sings and becomes one with them. Her interpretations are evocative and moving. …spine tingling.”
-(Barefoot Review, November 2011)

“Soprano Greta Bradman was outstanding…”
(The Australian, November 2011)

“the choice of repertoire provided the perfect showcase for Bradman’s liquid ornamentation and sensitive approach to the narrative line of each song.”
-(Canberra Times, March 2011)

“..soprano Greta Bradman was by far the most engaging performer. Her potent presence seems to come from a sincere sensitivity laid bare. …Bradman will bring something new and original to the Australian musical landscape.”
– (Herald Sun, May 2010)

“The Stabat Mater showcased Adelaide soprano Greta Bradman, whose depiction of sorrowful and refined beauty was transfixing.”
-(The Western Australian, April 2010)

“Bradman… painted many hues, from pale gold through myriad shades of grey to the blackness of death. Her thrilling high C flew to the moonand beyond.”
-(The Advertiser, July 2009)