"...soprano Greta Bradman was by far the most engaging performer. Her potent presence seem to come from a sincere sensitivity laid bare. ...Bradman will bring something new and original to Australia’s musical landscape."
(The Herald Sun, July 2010 - Anna McAlister)
"With Bradman's gorgeous voice soaring rapturously, her performance was superb ...the music, exquisitely sung."
(The Advertiser, July 2009 - Peter Burdon)
"Bradman's voice has great range – a top E or thereabouts was on the menu – and a rich dynamic intensity. She is also capable of managing Handel's crazily ornamented vocal lines with aplomb, and even at Abbott's frantic pace her aria Sei cara, sei bella from Cecilia, volgi un sguardo lived up to its reputation as a tour de force but with elegance.
(The Advertiser, October 2009 - Rodney Smith)
"The Stabat Mater showcased Adelaide soprano Greta Bradman, whose depiction of sorrowful and refined beauty was transfixing. The all-female string accompaniment [Australian String Quartet] gave the Madonna's lament a profound womanly sensitivity."
(The Western Australian, April 2010 - Rosalind Appleby)
"Bradman - in Spanish, the very tongue of melancholy - and the Langbeins (String Quartet) painted many hues, from pale gold through myriad shades of grey to the blackness of death. Her thrilling high C flew to the moon and beyond"
(The Advertiser, June 2009 - Elizabeth Silsbury)
Bradman calmly preserved her beautiful quality from somewhere over the rainbow down to ground level, whether brushing butterfly kisses with the accompaniment (Schubert), tuning like an echo to Harrold's strings (Cuddeford), spitting out the Kafka–esque mockery of bureaucracy (Dudley), or grieving with Kurtág over a dead flower. So much innovative material, all performed with complete mastery..."
(The Advertiser, January 2007 - Elizabeth Silsbury)
"Flying even higher, Greta Bradman's ravishing soprano wove a counterpoint of texts from the first to the 19th centuries, giving unequivocal meaning to an already unambiguous musical narrative. Bradman musicianship was stellar..."
(The Advertiser, November 2009 - Rodney Smith)
"Greta Bradman's performance as Pierrot was outstanding..."
(Adelaide Review 2009 - Chris Reid)
"Tristram Cary's I Am Here (1980), for soprano and tape, was the most arresting work. Positioned inside a large aluminium-framed tetrahedron, Greta Bradman performed it with superb vocal prowess and intensity."
(The Australian, 2008 - Graham Strahle)
"One of Australia's finest young singers"
(The Advertiser, 2008)
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