His voice has excellent focus, is richly hued, and deployed with great musicality, sensitivity, and rhythmic surety.”
Michael Halliwell, Australian Book Review, 3rd October 2022

Brenton Spiteri is an Austalian-Maltese tenor who holds a Masters in Opera from the Guildhall School of Music and Drama. 

In 2023 Brenton performs Ferrando (Così fan tutte) for Opera Queensland, as well as Liverotto (Lucrezia Borgia) and Zefirino (Il viaggio a Reims) for English Touring Opera. He also continues his association with English Touring Opera’s Learning and Participation Program, and with Songmakers Australia. 

In 2022 he has been featured as Tin Soldier (Paper and Tin) for English Touring Opera, Beppe (Rita) for Charing Cross Theatre, and was the solo tenor in Britten’s Five Canticles for Sydney Chamber Opera’s Awakening Shadow. He gave additional performances of Winterreise at Brisbane Music Festival, and Britten’s Serenade for tenor, horn and strings at High Barnet Chamber Music Festival.

Brenton’s performed roles include Tamino (The Magic Flute), Count Almaviva (The Barber of Seville), Rinuccio (Gianni Schicchi), Telemaco (The Return of Ulysees), Ernesto (Don Pasquale), Conte Alberto (L’occasione fa il ladro), Narciso (Il turco in Italia), Beppe (Rita), Schoolmaster/Mosquito (Cunning Little Vixen), Paco (La vida breve), Trac (Le Roi Carotte), Soldato/Mercurio (The Coronation of Poppea). He has performed for major companies around Australia and the UK, and was an Opéra de Lyon young artist between 2015 and 2017. 

He has frequently collaborated with Sydney Chamber Opera, for whom he created the roles of Ashley in (Fly Away Peter), Aboveground Man (Notes From Underground) and Oscar (Oscar and Lucinda). He also appears frequently in concert, having performed Britten’s Les Illuminations with the Sydney Symphony Orchestra, and given numerous recitals at the Melbourne Recital Centre.

Brenton is a former winner of the Herald Sun Aria and a recipient of the Marten Bequest Scholarship for singing. His career has been generously supported by the Amar-Franses and Foster-Jenkins Trust, Melba Opera Trust, Australia Council and Ian Potter Cultural Trust. 

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