“Power was there, too, in Michael Bracegirdle’s interpretation of the errant and love–crossed Don José.”
Don José: Carmen / Mid Wales Opera / Chester Daily Post

“…Michael Bracegirdle took on the massively–demanding role of Don José and displayed a vocal range and dexterity to be envied…what a voice.”
Don José: Carmen / Mid Wales Opera / The Huddersfield Daily Examiner

“…But the palm must go to the Don José of Michael Bracegirdle. Here is what the Italians call an ’emergent voice’, smooth throughout its compass, with effortlessly ringing high notes that he can subdue to a fil di voce, suggesting that he might be one of the few tenors able to end ’Celeste Aida’ in the way that Verdi intended…”
Don José: Carmen / Stowe Opera / Opera

“…with excellent support from Dwayne Jones’ burly Laca and (Michael) Bracegirdle’s handsome, feckless Steva…”
Steva: Jenufa / English Touring Opera / The Sunday Times

“…Michael Bracegirdle played Boris with piercing bravado.”
Boris: Katya Kabanova / Scottish Opera On Tour / The Scotsman

“…some of the writing for the tenor requires extreme use of falsetto and vocal gymnastics…Michael Bracegirdle sang superbly…”
Sandy / First Officer: The Lighthouse / Royal Northern College of Music / The Sunday Telegraph

“Bracegirdle captured Ruggero’s naivety and weakness but his awakening of love and subsequent distress inspired singing of warmth, ardour and poignancy”
Ruggero: La rondine / Royal Northern College of Music / Opera Now

“As Cavaradossi, Michael Bracegirdle phrases his arias intelligently…”
Cavaradossi: Tosca / English Touring Opera / The Daily Telegraph

“…Michael Bracegirdle’s Cavaradossi seizes his vocal opportunities with some panache.”
Cavaradossi: Tosca / English Touring Opera / The Observer

“Michael Bracegirdle throws himself into his high-lying role with heroic abandon and cuts a rogueish figure.”
Jenik: The Bartered Bride / Mid Wales Opera / The Times

“His shapely phrasing and appealing timbre suited the often dream’like lyricism of his part, to which he also brought a sense of the work’s underlying irony…”
Tom Rakewell: The Rake’s Progress / Royal Northern College of Music / Opera Now

"Another fine young English singer, tenor Michael Bracegirdle, makes the most of his opportunities as the poet Lensky, mustering as much power as finesse when roused, and savouring his great pre-duel aria..."
Lensky: Eugene Onegin / English Touring Opera / The Guardian

"Michael Bracegirdle as Lensky has power and vulnerability..."
Lensky: Eugene Onegin / English Touring Opera / The Independent

"Michael Bracegirdle (Lensky) and Marie Elliot (Olga) offer similarly strong impersonations..."
Lensky: Eugene Onegin / English Touring Opera / The Independent on Sunday

“Michael Bracegirdle was a sweetly vulnerable Lensky..."
Lensky: Eugene Onegin / English Touring Opera / Opera

"Michael Bracegirdle's Alfredo is clear and pure. Most impressive of all, they [Lee Bissett & Michael Bracegirdle] found inventive ways of making dramatic sense of every note, especially in the duets."
Alfredo: La traviata / Clonter Opera / Clonter

"She (Lee Bissett) was strongly supported by Michael Bracegirdle as Alfredo, who excelled in the first and third acts, exuding a caddish bravado..."
Alfredo: La traviata / Clonter Opera / Opera Now

“Michael Bracegirdle was a magnificently imperious Judge Danforth…”
Judge Danforth: The Crucible / Dicapo Opera Theatre / New York Times