“All the performances are good, though Mark Le Brocq has a particularly fine time playing a child-eating lion as a cat-suited rock god.”

The Guardian

Reviews

OPERA

 

Dr Faustus  Semperoper   Dresden

“ Großartig die sängerischen Leistungen des Ensembles, allen voran der Amerikaner Lester Lynch als Faust und der Engländer Mark Le Brocq als äußerst agiler Mephisto, der das Geschehen wie Loge in Wagners »Ring« vorantreibt.”

Musik in dresden

“ The singing performance of the ensemble is magnificent, especially the American Lester Lynch as Faust, and the Englishman Mark Le Brocq as an extremely agile Mephisto, who drives the event like Loge in Wagner’s “Ring”.”

 

Mark Le Brocq ist ein eloquenter Mephistopheles mit eher baritonalem timbre die tenoralen höhen erreicht er aber ohne probleme.”

Operapoint

Mark Le Brocq is an eloquent Mephistopheles with rather baritonal timbre who neverthless reaches the tenorial heights without any trouble.”

 

“Ebenso glänzend waren die Auftritte von Mark Le Brocq als überaus lebendig agierende Mephisto….sein äußerst wandlungsfähiger und durchschlagskräftiger Charaktertenor schien wie für diese Partie geschaffen”

Opernfreund

“Equally dazzling were Mark Le Brocq’s scenes as an exceedingly lively Mephistopheles….his extremely versatile and powerful tenor seemed to have been created for this part.”

 

Mark Le Brocq als sein diabolischer Alter Ego Mephistopheles war ihm stimmlich ebenbürtig in seiner mitunter verteufelt hoch angelegten Partie. Witz Charme und Verlockung meisterte Le Brocq mit seiner Spieltenor bra vourös.”

Opernglas

Mark Le Brocq, as his devilish Alter Ego Mephistopheles, was his vocal equal in this often diabolically high-lying part. Wit, charm and allure were mastered by Le Brocq’s brilliant tenor.”

 

“ the dramatic skill and vocal tirelessness of Mark Le Brocq’s excellent performance in the role……  Le Brocq and Lynch led a fine cast….”

Opera

 

The Merchant of Venice  Welsh National Opera

“Bassanio – tenor Mark Le Brocq in great form”  Artsdesk

Mark Le Brocq a sweet tenor Bassanio”  The Daily Telegraph

Mark Le Brocq brought an attractively lyrical voice to the role of Bassanio”  Seen and Heard International

“outsung by Mark Le Brocq’s strong Bassanio”  The Guardian

“Its elegance was equalled by Mark Le Brocq whose high-lying lines conveyed all of Bassanio’s levity and heedlessness”  Opera Today

Mark Le Brocq did wonders with the high-wire tenor writing of the role of Bassanio”  Planet Hugill

 

Die Walküre  Opera North

“The principal singers gave their all. Mark Le Brocq (Siegmund) and Lee Bisset (Siegelinde) transmitted white-hot passion both in their incestuous love for each other and in their defiance of the gods”  Nottingham Post

 

Christmas Carol   Welsh National Opera

Le Brocq’s vocal acrobatics – jumping between narration, high, low and falsetto – and the constantly changing hats and nightcap were sustained remarkably throughout. Words were super-clear and mini-cameos beautifully characterised: Bob Crotchet Cockney-perfect, Fezziwig touching, Tiny Tim reduced to a finger puppet”  The Guardian

” Credited simply as Narrator, Le Brocq deserved to have had all the roles he portrayed listed individually: he characterised each one – over 20 in all – with much care. Words were crystal-clear, he realised 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” Opera

 

Biedermann and the Arsonists  Independent Opera

“An indefatigable Mark Le Brocq led a sterling cast as the bigoted businessman Biedermann”  The Guardian

” 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”  The Stage

” Mark Le Brocq was superb as Biedermann”  Opera Today

Mark Le Brocq tirelessly portrayed the exasperated, utterly compromised Biedermann with generous heldentenor heft in the high-lying music”  Classical Source

 

The Flying Dutchman  Opera North

” Mark Le Brocq brings ringing top notes to the steersman ” The Daily Telegraph

Mark Le Brocq as the Steersman, fresh and youthful of timbre, was delightful in his Act 1 Sailor’s song” Opera Britannia

Mark Le Brocq’s Steersman….sincerely and stylishly sung ” The Times

 

Moses und Aron  Welsh National Opera

“Aron was taken on the first night by an understudy, Mark Le Brocq, and quite brilliantly. It is not as though his lyric tenor utterances dilute his brother’s austere visionary message with a dose of Puccini – this is still tough music on the ear – but Le Brocq conveyed them with astounding assurance.” The Sunday Times

Mark Le Brocq jumped in at the last minute to save the day, singing heroically and brilliantly realising the character as a track-suited, greasy haired but wily and charismatic speaker.” The Spectator

“The suave, plausible Aron was Mark Le Brocq, whose performance had so much assurance and authority it was hard to believe that he is the understudy, and had only known he was appearing a few hours earlier.” The Guardian

Le Brocq’s assured and lyrical singing was a fine counterbalance to Tomlinson’s Moses”  Opera

“The man with the most unenviable task on the opening night was Mark Le Brocq stepping in at just a few hours’ notice for the indisposed Rainer Trost. He conveyed with ease Aron’s streetwise trainer-clad demeanour, projecting the elaborate arioso lines as if he had been doing so all his life.” Opera Now

” Mark Le Brocqwhose ease and fluent beauty in the opera’s most demanding role made it hard to credit that he was standing in as an understudy given just a few hours notice. Both Le Brocq and the house’s management are to be congratulated” TLS

Aron was not the advertised Rainer Trost, who was indisposed, but the sensational tenor Mark Le Brocq, who stood in at short notice on minimal rehearsal, but who gave a performance that was just as gripping as Tomlinson’s, with a vocal line that, by contrast with Moses’ stammering Sprechstimme, sounded almost like bel canto.” Bachtrack

“Hardly less impressive is Mark Le Brocq‘s smooth talking, shallow thinking Aron, taken over at the last minute from an indisposed Rainer Trost, but sung with an assurance that belies the extreme difficulty of music whose lyricism is constantly moulded to a fixed and somewhat angular sequencing of notes. Le Brocq, though understudying the role, had I gather never sung it with the orchestra or on stage. You could hardly have known. ” Artsdesk

“Aron is an immensely challenging role, both vocally and dramatically, and no small test of memory, but Le Brocq stepped up to the plate magnificently – nothing about his performance suggested a last-minute stand-in. Impressive.” musicalamerica.com

Mark Le Brocq‘s eloquent bel canto as Aron” The Independent

 

Fall of the House of Usher  Welsh National Opera

“..the crazed doctor, red hair on end like diabolical horns, Mark Le Brocq also excellent”  Artsdesk

“..the singing of Mark Le Brocq is excellent”  The Daily Telegraph

” Mark Le Brocq’s ghoulish Medecin, powerfully drawn” The Times

Mark Le Brocq was best of all in his declamation of the French text”  Seen and Heard International

 

Peter Grimes  Opera North

“Mark Le Brocq delivers a vocally and dramatically riveting performance”  Opera Britannia

 

Das Rheingold  Longborough Festival Opera

“Strong performances bring many characters in from the mist, especially so in the case of Mark Le Brocq’s playful but strongly sung Loge”   The Times

” 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.” Artsdesk

 

Lulu  Welsh National Opera

“Equally memorable are…Mark Le Brocq’s cleverly sung, wittily acted Painter/Negro…” Artsdesk

“…with luxury support from Mark Le Brocq.”  Observer

 

The Makropulos Case  Opera North, Edinburgh Festival

“The clear, bright-tone of tenor Mark Le Brocq is deployed to good effect as Vitek, the head clerk. It’s a convincing characterisation and Le Brocq’s diction is excellent”  Opera Britannia

 

Yes Royal Opera House

“…a formidable tenor….” The Times

 

From the House of the Dead Opera North

“Mark Le Brocq marvelously dotty as the ear-pulled Shapkin” Opera

“All the narratives are powerfully delivered, without undue histrionics, notably by Robert Hayward (Shishkov) whose increasingly tormented account of murdering his possibly unfaithful wife dominates Act 3. Alan Oke (Skuratov) and Mark Le Brocq (Shapkin) also seize their moments.” Whatsonstage

 

King Priam English National Opera

“Mark Le Brocq, equally clear with his text, is tremendous as Paris…a wonderful lyric top to his voice ” Evening Standard

“Mark Le Brocq plays a Paris sensitively observed and very gratefully sung” Financial Times

“Mark Le Brocq a golden-toned Paris” The Stage

 

Cautionary Tales Opera North

“All the performances are good, though Mark Le Brocq has a particularly fine time playing a child-eating lion as a cat-suited rock god.” The Guardian

“…Mark Le Brocq’s glam-rock lion.  He’s terrific – a vision in blue shiny fabric and Heseltinian blonde wig, playing air guitar with Jim’s dismembered leg.” Artsdesk

 

Otello English National Opera

“Mark Le Brocq’s fine Cassio……diction was flawless” Opera

 

The Return of Ulysses Chicago Opera Theatre

“Tenor Mark Le Brocq was an imposing Ulisse” Wall Street Journal

“As Penelope and Ulisse, Marie Lenormand and Mark Le Brocq respectively illustrate all the necessary longing and pent-up passion built into librettist Giacomo Badoaro’s contemplative text about love, fate and fortune.” Windy City Times

“Certain performers in particular stood out. Mark Le Brocq as Ulysses and Marie Lenormand as Penelope not only sang beautifully but showed the appropriate mix of intimacy and bewilderment in the culminating reunion scene.” Chicago Theatre Reviews

“The eloquent tenor Le Brocq made every painful step of Ulysses’ homecoming memorable.” Chicago Tribune

 

The Magic Flute (Tamino) English National Opera

“….his tone was bright, his performance committed and his words well projected” Opera

 

Mitridate Buxton Festival

“Mark Le Brocq is outstanding in the warlord title role.” Citylife

 

Salome English National Opera

“Mark Le Brocq’s obsessive Narraboth is unusually imposing” Opera

 

The Magic Flute Opera Holland Park

“…but it’s Mark Le Brocq’s Monostatos that repeatedly steals the show…” The Financial Times

 

Rusalka Opera North

“The lighter elements are stylishly handled: the excellent Mark Le Brocq and the convincingly boyish Catherine Hopper make much of the comic interludes for Huntsman and Kitchen Boy.” Whatsonstage

 

Il Re Pastore Classical Opera Company

“Tenor Mark Le Brocq (Agenore) was the only singer to do full justice to Mozart. He is clearly accomplished and also very expressive. The other four singers were not quite in Le Brocq’s class.” Musicomh.com

“The most mature performance came from the experienced Mark Le Brocq as the nobleman Agenore; his track record showed in his sensitive phrasing, concern for the (Italian) words and reassuring demeanour.” The Financial Times

“Agenore, her betrothed,elegantly sung by the tenor Mark Le Brocq.” The Times

 

Apollo and Hyacinthus Classical Opera Company

“…the stunning performances of Rebecca Bottone (Melia) and Marc Le Brocq (Oebalus)….. But Bottone and Le Brocq’s Act III father-daughter duet is the undoubted musical highlight.” Independent on Sunday

“Oebalus was brought to life by tenor Mark Le Brocq, whose powerful, stately stature and strength of voice created a believable King.” Musical Opinion

 

La Resurrezione Chicago Opera Theatre

“A bright-timbred Giovanni, the character here presented as the parish priest, sung by Mark Le Brocq.” Opera News

“Mark Le Brocq delivers the comforting homilies of John the Baptist with a sweet, never-forced lyric tenor” Chicago Tribune

“Tenor Mark Le Brocq was openhearted and appealing as the parish priest and St John. Riding herd on the rehearsal, trying to comfort the grieving parents, he was a man completely enmeshed in the lives around him. Le Brocq has a relaxed, warm tenor that was comfortable in Handel’s serene, lyrical melodies as well as the oratorio’s lavish, virtuoso decorations.” Chicago Sun-Times

 

A Better Place English National Opera

“Mark Le Brocq made every word tell as the Ghost” The Times

 

RECORDINGS

 

The Messiah

“The buoyant chorus, under Glover’s incisive direction, goes from strength to strength. Four vigorous soloists play their part, especially the tenor Mark Le Brocq…” Sunday Times

 

Vert-vert

“The best all round performance, vocally and stylistically speaking, comes from Mark Le Brocq as the gardener Binet, because he really plays with the words, doesn’t just sing but acts vocally….he lights up all the scenes he is in…” Operetta Research Centre Amsterdam

 

Valete in Pace

“Mark Le Brocq is a stunning soloist, tearing at our hearts with Lee Hall’s disquieting text.” International Record Review

 

Samson

“As Samson, Mark Le Brocq is admirable: a good, clear, even, true, masculine tenor, intelligently used.” Gramophone

“Marc Le Brocq is an outstanding Samson” Music Web International

 

Saul

“Marc Le Brocq displays a strong, true English tenor as Jonathan, particularly touching in his advocacy for David.” Opera News