Brad Cooper is a dynamic performer, equally excited to engage in a wide range of genres, from Opera to Crossover, from Early Music to Romantic and Modern. His show FROM KORNGOLD TO KABARETT has played to packed audiences in Sydney, London, Melbourne and Regional Australia, while 2015’s Don’t Mention the War enjoyed success at Melbourne Recital Centre’s Spotlight Series and Broken Hill Regional Gallery.

Recent engagements for Opera Australia include the title role of Albert Herring, Tamino in Magic Flute, Bazilio/Curzio in The Marriage of Figaro, and tenor soloist in Beethoven’s 9th Symphony.

In 2016 Brad performed title role in Haydn’s Orfeo ed Euridice under Richard Bonynge for the Sydney Conservatorium’s Centenary Celebrations, and in 2017 Brad returns in concert as Zadok the Priest in Handel’s Solomon with Michelle Leonard’s dynamic Leichardt Espresso Chorus, following on from last years triumph as Jonathan in Saul at St James, King Street in Sydney.

Brad appears regularly at the Silverton Hotel for Aria’s in the Outback, in Opera Gala evenings at Leura’s Hydro Majestic, in concert for the Robert Stolz Viennese Society in Melbourne and in musically gorgeous collaborations with the stunning Inventi Ensemble.

Other memorable appearances include Tamino in Die Zauberflöte & Belmonte in Die Entführung aus dem Serail (Oper Köln), Don Alonse in L’Amant Jaloux (Opera Comique, Paris), Almaviva in Il Barbiere di Siviglia (Opera Holland Park, London), Aubry in Marschener’s Der Vampyr (Grachtenfestival, Amsterdam), creating the role of Clem in Mischa Hamel’s Snow White (Nederlandse Reisopera) and appearing in concert with Anna Netrebko in Moscow.

Brad’s performance of Davey in Jonathan Dove’s Siren Song for Amsterdam’s Grachtenfestival was released live on Chandos Classics to widespread critical acclaim. The Live CD of From Korngold to Kabarett goes on sale in 2017.

Brad studied at the Sydney Conservatorium of Music, National Opera Studio, London and with Marilyn Horne at the Music Academy of the West, California. He is thankful for the support of Nance Atkinson Trust, Johnson Bequest, Tait Memorial Trust, Australian Opera Auditions Committee’s Dame Joan Sutherland Award and Australian Singing Competition.