Press

“… sang with smooth radiance, both liberated and estranged from human passion, creating a musical culmination both rewarding and strange.”
Sydney Morning Herald– Awakening Shadow

“The performance is dominated by tenor Brenton Spiteri, who delivers a vocal tour de force… His voice has excellent focus, is richly hued, and deployed with great musicality, sensitivity, and rhythmic surety, as well as outstanding intonation.”
Australian Book Review– Awakening Shadow

“… effortless confidence in his singing voice…”
The Reviews Hub– Rita

“Spiteri has a winning stage presence… knows how to ‘do’ comedy, too…”
Opera Today– Rita

“…the possessor of a wonderfully lithe tenor which has an admirable ease and flexibility at the top…” 
Planet Hugill– L’occasione fa il ladro

“…it was Spiteri, as nimble of foot as he was expressive of voice, who truly captured hearts as he danced his final dance of dreams and despair.”
Opera Magazine– Beginnings: New and Early Opera

“This opera, for me, was the highlight of the evening partly because the performance of Brenton Spiteri as Julius really lit up the piece…”
Planet Hugill– Beginnings: New and Early Opera

“…a scene stealing delight… Spiteri made Beppe’s put-upon-ness a thing of great charm”
Planett Hugill– Guildhall Opera Triple Bill

“…returns to the role of Count Almaviva in sterling form, his vocal performance enhanced by his lush romantic tone and confident, smooth legato phrasing. Spiteri maintains a charming sparkle, balancing romance and chivalry with ease.”
Man in Chair– The Barber of Seville

“…an ardent Almaviva whose passion was aided by a well produced upper register.”
Limelight– The Barber of Seville

“..a wonderful tenor voice”
Classic Melbourne– The Barber of Seville

“As Count Almaviva, young tenor Brenton Spiteri has some of the trickiest music, but he handles it with style and skill.”
Sydney Morning Herald– The Barber of Seville

“Spiteri and Aszodi’s voices respond to each other’s like they’re reaching out with both hands, a harmonic chase of caramel tones and prayer, and, thankfully, twists of wit and fun.”
The Guardian– Oscar and Lucinda

“Brenton Spiteri sings Oscar with a broad, well-rounded sound projecting a mahogany tone with the resonant confidence of an actor-turned-clergyman, and capturing the character’s oblivious self-absorption to a point of perverse fascination.”
Sydney Morning Herald– Oscar and Lucinda

“Outstanding… ringing top register clarity and freewheeling agility.”
The Australian– Oscar and Lucinda

“Spiteri’s Oscar expertly captures the ‘oddness’ of Carey’s character- profoundly ill at ease in his own skin and full of unarticulated desire and longing. Vocally, he is outstanding. The role sometimes lies brutally high for the tenor, but he meets all the musical challenges with multi-faceted vocal colouring and crystalline articulation, the voice sounding perfectly fresh at the end of the evening. A remarkable performance.”
Australian Book Review– Oscar and Lucinda

“Spiteri’s fresh, flexible lyric tenor perfectly captures Oscar’s naivety and boyish passion.”
Limelight– Oscar and Lucinda

“Brenton Spiteri, as Oscar, revels in awkwardness and blooms in the realisation that faith is inextricably linked to chance. The scene in which Oscar takes Lucinda’s confession during their passage to Australia is glorious.”
Audrey Journal– Oscar and Lucinda

“Other standouts included Brenton Spiteri’s Telemaco, who invested his clarion tenor with a tender, subtle quality when needed. A persuasive stage presence, he had an easy rapport with both Guimarães and Carby, giving the audience insight into his character’s painful maturation, while his reunion scene with Ulysses was a shining vocal and dramatic moment.”
Limelight– The Return of Ulysses

“…velvety tone and smooth attractive finish.”
Sydney Morning Herald– The Return of Ulysses

“Brenton Spiteri’s light and flexible voice was ideal for the young Telemachus.”
Australian Stage– The Return of Ulysses

“…youthful bravery and a vibrant, luminous tone.”
OperaChaser– The Return of Ulysses

“Brenton Spiteri was a brilliant Telemaco (son of Ulysses), his thrilling voice and dramatic agility a highlight of the production.”
ArtsHub– The Return of Ulysses

“His musical expressiveness, exemplary diction and a facility with languages enabled his appealing tenor to convey the qualities of the varied Scandinavian songs to best advantage.”
Classic Melbourne– Scandinavian Songs

“Brenton Spiteri… projected with clear edge, gentle melodiousness and a suave and mellifluous sense of line.”
Sydney Morning Herald– Athalia

“Brenton Spiteri is a true stage animal…His lean, agile tenor and superb diction were heard to great effect in the beautiful ‘Gentle airs, melodious strains’. His final despairing aria ‘Hark His Thunders Round Me Roll’, was a dramatic as well as vocal highlight.”
Australian Book Review– Athalia

“… impresses vocally as Mathan, his consoling Gentle airs, melodious strains showing a keen awareness of line and tasteful phrasing… Hark! His thunders round me roll saw him wracked with anguish but in total vocal control.”
Limelight– Athalia

“… tall, dark and handsome tenor Brenton Spiteri is splendidly seductive and at times treacherously evil with glorious phrasing and texture of the vocal line – for example his soothing Gentle airs, melodious strains. He is unable to save himself or Athalia and his Hark! His thunders round me roll was anguished yet with restrained control.”
ArtsHub Australia– Athalia

“Tenor Brenton Spiteri convincingly channeled a varied palette of German song. His interpretative flair effectively and authentically recreated the compositional language of Beethoven, Richard Strauss and Henze. His vocal colour, texture and tone changed for each composer’s lexicon and he seamlessly scaled the transitions between the extreme registers in Henze’s fiendishly difficult Sechs Gesange aus dem Arabischen.”
Limelight– Reprise

“Impressive was the sweet tenor and clever acting expressions of Brenton Spiteri’s Ernesto. His beautifully rich “How nice the night” was outstanding.”
BachTrack– Don Pasquale

“Brenton Spiteri, as Ernesto, is the epitome of the romantic Italian tenor, with a voice of the timbre that conjures… the handsome young man below the balcony offering his undying love to the girl of his dreams. He embodies the role perfectly.”
Broadway World– Don Pasquale

“Brenton Spiteri is equally charismatic and forceful as Paco… fiery as Rinuccio”
In Daily– La Vida Breve/Gianni Schicchi

“… impressed with his natural, clarion-clear singing and stagecraft”
Limelight– La Vida Breve/Gianni Schicchi

“… outstandingly impressive… magnificent…”
BachTrack– La Vida Breve/Gianni Schicchi

“… an immaculate performer”
Glam Adelaide– La Vida Breve/Gianni Schicchi

“…gets to revel as the young lover Rinuccio, his warm and bright voice sings a hymn to Florence”
Adelaide Advertiser– La Vida Breve/Gianni Schicchi

“The big surprise was the tenor, young Brenton Spiteri, heard most recently as Tamino for State Opera in the 2016 Magic Flute. His warm, bright and fluent tenor voice soared in arias from Don Pasquale and Gianni Schicci…”
Adelaide Advertiser– Operativo III

“Brenton Spiteri’s tenor is a cheeky, spritzy drop, a young sauvignon blanc…”
Limelight– Operativo III

“… his voice and diction retain their sparkling clarity.”
The Australian– Cunning Little Vixen

“Three of the country’s top young male singers give tremendous support in featured roles. Tenor Brenton Spiteri has fun as the hungry mosquito before channeling a deep river of regret as the lonely Schoolmaster.”
Man in Chair– Cunning Little Vixen, Victorian Opera

“… le trio des Famigliari de Sénéque par Brenton Spiteri, James Hall et Aaron O’Hare est brillamment exécuté” (“… the trio of Seneca’s Famigliari with Brenton Spiteri, James Hall and Aaron O’Hare is brilliantly executed”)
ResMusica– The Coronation of Poppea, Opera Lyon

“Brenton Spiteri used the full range and dramatic possibilities of his voice in his splendid singing of the Cujus animam”
New Zealand Herald–  Stabat Mater, Napier Civic Choir

“… brilliantly pitched… Spiteri sings the aboveground man with keen edge and focus…”
Sydney Morning Herald– Notes from Underground, Sydney Chamber Opera

“a tenor voice that rings out attractively…”
BachTrack– Notes from Underground, Sydney Chamber Opera

“Spiteri is excellent at exploring an isolated man on the verge of hysteria…”
Limelight– Notes from Underground, Sydney Chamber Opera

“beautifully clean and polished tones”
Financial Times– Armida, Pinchgut Opera

 “…the subplot, a romance between the loyal Frankish knight Clotarco, (Brenton Spiteri) and Almida’s (sic.) attendant, Zelmira (Janet Todd), played out downstage, feels much more real, with these two fine singers developing a magical intimacy in their duets.” Sydney Morning Herald– Armida, Pinchgut Opera

“…gallant and vocally alluring.”
OperaChaser– Armida, Pinchgut Opera

“A promising new tenor debuts in Adelaide’s State Opera of South Australia’s The Magic Flute…” “an inspiring Tamino” “… a beautifully sweet tenor, he sang with the ease and confidence of a veteran, his presence on stage commanding, a joy to listen to, a princely performer with great diction…”
BachTrack– The Magic Flute, State Opera of South Australia

“… brings to Tamino vulnerability and bright, strong tenor sound…”
The Adelaide Advertiser– The Magic Flute, State Opera of South Australia

“… excellent as the love struck Tamino, with lyrical, flowing tenor lines…”
The Barefoot Review– The Magic Flute, State Opera of South Australia

 “simply astonishing” “charismatic warmth and vocal agility,” “burnished tone and all manner of vocal gymnastics,” “rich, gorgeous tone”
Fly Away Peter, Sydney Chamber Opera (Melbourne)

“Gyger’s music is particularly well served by the rich, gorgeous tone [of] Spiteri’s tenor…”
Man in Chair– Fly Away Peter, Sydney Chamber Opera (Melbourne)

“Pure toned and superbly accurate…”
Sydney Morning Herald– Fly Away Peter, Sydney Chamber Opera (Melbourne)

“…maturing excellence is clearly evident…”
OperaChaser– Fly Away Peter, Sydney Chamber Opera (Melbourne)

“…a tenor of extraordinary musicality and daring…”
Classic Melbourne– Fly Away Peter, Sydney Chamber Opera (Melbourne)

“What a difference a tenor makes…” (Man in Chair) “clear (and) soaring” (Australian Book Review), “virtuoso” (Classic Melbourne) “tireless and convincing” (the Creative Issue).
The Barber of Seville, Melbourne Opera

“…excels in what is a huge sing…”
The Creative Issue– The Barber of Seville, Melbourne Opera

“…a fully rounded portrait of the love-struck Count… This young man is a talent to watch…”
Australian Book Review– The Barber of Seville, Melbourne Opera

“Up-and-coming tenor Brenton Spiteri sailed through Almaviva’s high tessitura and florid passagework with ease…”
Stage Whispers– The Barber of Seville, Melbourne Opera

“…negotiated the lengthy florid passages with remarkable ease and relished the high notes. His acting displayed a flair for comedy…”
Classic Melbourne– The Barber of Seville, Melbourne Opera

“Spiteri’s pure, clear high notes range from delicate piano to ringing out over the company during ensemble pieces…”
Man in Chair– The Barber of Seville, Melbourne Opera

“Brenton Spiteri is simply astounding…”
Australian Book Review– Fly Away Peter, Sydney Chamber Opera (Sydney)

“A vocal virtuosity that takes your breath away with it’s beauty…”
Sydney Morning Herald– Fly Away Peter, Sydney Chamber Opera (Sydney)

“This production belongs to Brenton Spiteri, whose tenor has extraordinary depth and clarity…”
Daily Review– Fly Away Peter, Sydney Chamber Opera (Sydney)

“A tenor voice of substance and clarity…”
The Conversation– Fly Away Peter, Sydney Chamber Opera (Sydney)

“Brenton Spiteri reveals a lovely, flexible lyric tenor voice…”
Limelight– Fly Away Peter, Sydney Chamber Opera (Sydney)

“…his clarion tenor sound never once faltering, even in fiendishly difficult periods of sustained high tessitura. His progression from fun-loving property owner to mud-spattered officer in the trenches was as devastating as it was professionally managed.”
CutCommon– Fly Away Peter, Sydney Chamber Opera (Sydney)

“Brenton Spiteri gives a thrilling breakout performance…”
Man in Chair– The Pearl Fishers, Melbourne Opera

“Brenton Spiteri’s Nadir comes across as impetuous, a little cheeky and very likeable. Spiteri funnels the voice with vertical prowess and bright tone…”
Bachtrack– The Pearl Fishers, Melbourne Opera

“A beautifully controlled performance…”
Classic Melbourne– The Pearl Fishers, Melbourne Opera

“spirit, clarity and a depth of expression remarkable in a young artist” “Spiteri giving the simply structured melodies a vigour and resonant quality enriched by clear diction and sensitive phrasing”
Sydney Morning Herald– The English Songbook

“Warm, velvety voice” “Long beguiling phrases.”
Classic Melbourne– The English Songbook