NO. 01PRESS

PRESS · REVIEWS
NO. 02THE HUFFINGTON POST
“. . . Bille Bruley, who had ringing high notes to spare.”
01
Sam Polk, Susannah · Houston Grand Opera
“The standout performance came from tenor Bille Bruley as Susannah’s brother Sam Polk. He shone in every scene with Susannah. His singing was open and clear, his expression honest and warm, and his Appalachian accent sounded especially natural and unaffected. He is the loving brother, singing the charming folk song “Jaybird” at Susannah’s request. When he tries to comfort her and urges her to have faith, he speaks the truth: “The Lord’s great heart must break at seeing’ how men treat one another an’ say they’re doin’ it all fer His sake.” Sam lives freely outside the oppressive community. He sees it clearly for what it is, yet he cannot protect Susannah from it, nor escape it, and in the end it drives him to commit violence.”
EARRELEVANTSHERRY CHENG
Sam Polk, Susannah · Houston Grand Opera
02
Steve Wozniak, The (R)evolution of Steve Jobs · Atlanta Opera
Steve Wozniak, The (R)evolution of Steve Jobs · Utah Opera
“Bille Bruley, in his Atlanta Opera debut, plays Steve Wozniak, Apple’s co-founder. The tenor was flawless. His voice is as crisp and sweet as a Braeburn dusted with cane sugar."
ATLANTA JOURNAL-CONSTITUTION
Steve Wozniak, The (R)evolution of Steve Jobs · Atlanta Opera
"Bille Bruley’s sweet tenor complements the darker edge of Moore’s baritone splendidly. Their soaring duets crackle with energy. Likably loopy in his early scenes, Bruley later creates one of the night’s most impactful moments with Woz’s scathing denunciation of Jobs."
UTAH ARTS REVIEW
Steve Wozniak, The (R)evolution of Steve Jobs · Utah Opera
03
Beadle Bamford, Sweeney Todd · Austin Opera
Beadle Bamford, Sweeney Todd · The Glimmerglass Festival
"Bille Bruley’s powerful vocals and fine acting provide his Beadle Bamford with a scene-stealing moment at the harmonium..."
AUSTIN CHRONICLE
Beadle Bamford, Sweeney Todd · Austin Opera
". . . Bille Bruley, who had ringing high notes to spare."
THE HUFFINGTON POST
Beadle Bamford, Sweeney Todd · The Glimmerglass Festival
04
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
Lennie, Santa Fe Opera Apprentice Scenes Showcase · Santa Fe Opera
05
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."
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
Benjamin, The Thirteenth Child · Santa Fe Opera
06
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, Santa Fe Opera Apprentice Recital · Santa Fe Opera
07
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
Peter Grimes, Peter Grimes · Indiana University Opera Theater
08
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."
OPERAWIRE
Jonathan Dale, Silent Night · Arizona Opera
09
Don Curzio/Don Basilio, Le Nozze di Figaro · Arizona Opera
"Bille Bruley, an Arizona Opera Studio Artist, sang with trumpet-like tenor sounds."
OPERAWIRE
Don Curzio/Don Basilio, Le Nozze di Figaro · Arizona Opera
10
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
The Tempter, The Prodigal Son · Central City Opera
11
King Nebuchadnezzar, The Burning Fiery Furnace · Central City Opera
“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
King Nebuchadnezzar, The Burning Fiery Furnace · Central City Opera