TENOR

Dream of Gerontius: RTE National Symphony Orchestra

“Tenor Mark Le Brocq stood out among the impressive trio of soloists. Possessing a tight vibrato, pellucid diction and a consistently warm sounding voice, he convincingly portrayed the gamut of emotion of Gerontius. In particular, Le Brocq conveyed the loneliness and sorrow of impending death in Sanctus fortis brilliantly, his passionate pleas to pray for his eternal repose being highly charged.”
Bachtrack, Andrew Larkin (May 2017)

André Tchaikowsky THE MERCHANT OF VENICE (WNO)

“Mark Le Brocq a sweet tenor Bassanio”
Rupert Christiansen, The Telegraph (Sept 2016)

Wagner – Die Walküre (Opera North)

“The principal singers gave their all. Mark le Brocq (Siegmund) and Lee Bisset (Sieglinde) transmitted white-hot passion both in their incestuous love for each other and in their defiance of the gods.”
William Ruff, Nottingham Post (June 2016)

Bell A CHRISTMAS CAROL (Welsh National Opera)

“Credited simply as Narrator, Le Brocq deserved to have had all the roles he portrayed listed individually: he characterized each one – over 20 in all – with much care.  Words always crystal-clear, he realized an extraordinary diversity of accents and voices, male, female, young and old, in a rich variety of colours.  Apart from anything else it was a feat of endurance”
Rian Evans, Opera Magazine (February 2016)

Voseček BIEDERMANN UND DIE BRANDSTIFTER (Independent Opera)

“Mark Le Brocq perfectly captures the ineffectual Biedermann and, remarkably, never tires in vocal writing which continues to ascend as the character loses his grip on reality.”
Edward Bhesania, The Stage (November 2015)

“Mark le Brocq was striking indeed in the role of Gottlieb Biedermann, bringing a self-deluding everyman feel to the character whilst attacking the fearsome tenor part, with its thickets of top B flats, with brilliance and confidence.”
Planet Hugill (November 2015)

“Mark Le Brocq tirelessly portrayed the exasperated, utterly compromised Biedermann, with generous heldentenor heft in the high-lying music.”
Peter Reed, classicalsource.com (November 2015)

“Best, though, is Mark Le Brocq (Biedermann), who, in response to questions like “Have you seen a detonator lying around?”, does an Oscar-worthy impression of burying his head in the sand.”
Hannah Nepil, Financial Times (November 2015)

Wagner DER FLIEGENDE HOLLÄNDER – Opera North

“Mark Le Brocq as the Steersman, fresh and youthful of timbre, was delightful in his Act 1 sailor’s song”
Geoffrey Mogridge, Opera Britannia (June 2015)

Debussy THE FALL OF THE HOUSE OF USHER – Welsh National Opera

“…the crazed doctor, hair on end like diabolical horns (Mark Le Brocq, also excellent)…”
Stephen Walsh, The Arts Desk (June 2014)

“The singing of…Mark Le Brocq for Debussy is excellent”
Rupert Christiansen, The Daily Telegraph (June 2014)

“Mark Le Brocq as the doctor…was best of all in his declamation of the French text”
Paul Corfield Godfrey, Seen and Heard International (June 2014)

Schoenberg MOSES UND ARON Welsh National Opera

“The suave, plausible Aron was Mark Le Brocq, whose performance had so much assurance and authority”
Andrew Clements, The Guardian (May 2014)

“…Mark Le Brocq, jumped in at the last minute to save the day, singing heroically and brilliantly realising the character…”
Hugo Shirley, The Spectator (May 2014)

“Aron was taken on the first night by an understudy, Mark Le Brocq, and quite brilliantly.”
Paul Driver, The Sunday Times (June 2014)

Britten PETER GRIMES – Opera North

“Mark Le Brocq a strikingly strident Bob Boles”
Richard Wilcocks, Bach Track (September 2013)

“Mark Le Brocq delivers a vocally and dramatically riveting performance with barely concealed mania as the fisherman and fanatical Methodist Bob Boles”
Geoffrey Mogridge, Opera Britannia (September 2013)

Wagner DAS RHEINGOLD – The Times

“…Mark Le Brocq’s playful but strongly sung Loge.”
Neil Fisher, The Times (June 2013)

“Things liven up sharply with the entry of Mark Le Brocq’s vibrantly physical Loge in the second scene. Le Brocq, as well as being a fine lyrical singer, is another performer…who understands the virtues of facial expression and quick, reactive gesture”
Stephen Walsh, The Arts Desk (June 2013)