". . . Bille Bruley, who had ringing high notes to spare."

THE HUFFINGTON POST

OF MICE AND MEN

Lennie, Santa Fe Opera Apprentice Scenes Showcase
Santa Fe Opera
 
“In terms of excellent voices, we enjoyed watching the first scene of Of Mice and Men. We greatly admired Bille Bruley's tenoriffic portrayal of the emotionally impaired and childlike Lennie, whose care was entrusted to the much put-upon George, portrayed by the full-voiced bass-baritone Tyler Zimmerman who limned all the ambivalent emotions of his character."

VOCE DI MECHE

Benjamin, The Thirteenth Child
Santa Fe Opera

"Bille Bruley's innocent manner and pungent tenor fit the sadly doomed brother Benjamin."

THE DALLAS MORNING NEWS

Benjamin, The Thirteenth Child
Santa Fe Opera

"One of the most endearing portrayals is the youngest brother Benjamin, by the tenor         Apprentice Singer Bille Bruley."

LOS ALAMOS DAILY POST

Benjamin, The Thirteenth Child
Santa Fe Opera
 
"Bille Bruley finds a good match for his exuberant, substantial tenor in the important demeanor, combined with his dramatic commitment made him an audience favorite in what is arguably the opera’s most appealing character."

THE THIRTEENTH CHILD

OPERA TODAY

Benjamin, The Thirteenth Child
Santa Fe Opera

"Tenor, Bille Bruley, was an appealing youngest brother, Benjamin. He created a  likable character, acted with commitment, and sang with large, resonant sounds."

BROADWAYWORLD

Benjamin, The Thirteenth Child
Santa Fe Opera

"With his appealing high tenor, Bille Bruley was touching as the youngest brother, Benjamin."

THE WALL STREET JOURNAL

PETER GRIMES

Peter Grimes, Santa Fe Opera Apprentice Recital

Santa Fe Opera

“When a singer gets us to relate to an opera we don’t ordinarily favor, we know that something special is happening onstage.  Such was the case when tenor Bille Bruley performed excerpts from Act I of Benjamin Britten’s Peter Grimes. His truly remarkable dramatic skills complemented his fine vocalism. . . Bruley’s exceptionalism was matched by both his scene partners who astonished us with their total immersion in their characters and their connection with Grimes, as well as with the audience. “

VOCE DI MECHE

Peter Grimes, Peter Grimes

Indiana University Opera Theater

"The production, featuring two alternating casts, has two tenors switching as Peter Grimes: Bille Bruley, who sang opening night and will again next Saturday, and Richard Smagur, last Saturday’s Grimes and scheduled to sing this coming Friday. In Bruley and Smagur, this staging has two amazingly successful title holders. For a university music program to have one believable Grimes would be exceptionally fortunate. For a program to have two is almost beyond belief. But there they are, each of the pair living out the tragedy of this complicated, out-of-place being, fully able to bring tears to the eyes while captivating the ears."

BLOOMINGTON HERALD TIMES

Jonathan Dale, Silent Night

Arizona Opera

"When the German Army drafted Sprink, we were transported to Scotland for the enlistment of the Dale brothers, sung most effectively by heroic tenor Bille Bruley."

SILENT NIGHT

OPERAWIRE

Beadle Bamford, Sweeney Todd

The Glimmerglass Festival

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". . . Bille Bruley, who had ringing high notes to spare."

THE HUFFINGTON POST

Don Curzio/Don Basilio, Le Nozze di Figaro

Arizona Opera

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"Bille Bruley, an Arizona Opera Studio Artist, sang with trumpet-like tenor sounds."

OPERAWIRE

CHURCH PARABLES

The Tempter, The Prodigal Son
Central City Opera
 
“Tenor Bille Bruley bravely took the role of the Tempter, a role composed, like most of Britten’s high tenor roles, for the bright, edgy voice of Peter Pears—and made it his own. His strong, clear voice rang out forcefully, especially when warning of the havoc he would create.”

SHARPS AND FLATIRONS

King Nebuchadnezzar, The Burning Fiery Furnace
Central City Opera
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“Tenor Bille Bruley — an alumnus of the Young Artists Program who returns as a developing artist — shows that he is well on the way to a successful professional career in his gripping performance as Nebuchadnezzar. In Cazan's modernistic staging of the story — where the Babylonians carry cell phones and iPads and wear modern suits — it was probably predictable that the king would be presented as a Trump-like figure. Bruley's entrance was one of several bits of comedy early in the proceedings. Nonetheless, by the end of the opera, Bruley manages to imbue the king with real humanity after he witnesses the miracle. His voice is radiant, his enunciation impeccable. Every word he sings is easily understood and every note is precise in pitch.”

THE DAILY CAMERA