PRESS
Janáček’s Amarus & Mendelssohn’s Die erste Walpurgisnacht with Chorus Pro Musica
“Active and dominant through the night, Bradford Gleim contributed Sarastroesque tones to the role of the Druid’s high priest...looking and sounding like a great Elijah...with very operatic engagement and attractive production over a wide range, especially his ringing top.” -The Boston Musical Intelligencer
BWV 140 with Handel and Haydn Society
Bradford Gleim’s "robust voluminous baritone paired nicely with Yanovitch's refined soprano in two duets." -The Boston Musical Intelligencer
Handel's Saul with Handel and Haydn Society
"Baritone Bradford Gleim [was] hulking and menacing as Doeg, sent by Saul to arrest David." -Boston Classical Review
Rzewski's Coming Together with A Far Cry
"Bradford Gleim’s brilliant delivery was part ritual incantation, part controlled fury, and the conclusion, where everyone at last comes together, was shocking in its force, not least for being heard in the shadow of the Black Lives Matter movement. A performance that dealt at its essence with opposition ended with the power of unanimity." - The Boston Globe
BWV 40 with Handel and Haydn Society
“The consonant-spitting bass Bradford Gleim most satisfyingly heaped scorn on the “hellish serpent” Christ will crush underfoot” - Boston Classical Review
St. John Passion with Emmanuel Music
"Bass Baritone Bradford Gleim was rich and easy in “Mein teuer Heiland, lass dich fragen,” and the choir waltzed lightly behind him." - The Boston Globe
B Minor Mass with Musica Sacra
“During the Quoniam tu solus Santus, the horn (Clark Matthews) and bassoons (Patricia Yee and Natalie Zemba) supported an aria with the bass Bradford Gleim, who impressed with both an unusually expressive voice and sincere manner.”
“In the bass aria, Et in spiritum sanctum, Bradford Gleim, who again impressed deeply, was accompanied deftly by two very good oboes d’amore. - The Boston Musical Intelligencer
Haydn’s Creation with Texas Choral Consort
“As embodied by soloists Suzanne Ramo, Bradford Gleim, and Steven Soph, the angels who narrate this formation of all things felt less like celestial messengers proclaiming holy writ than astonished witnesses to a miracle. Their musicality was virtuosic, their diction impeccable, and yet informing every solo was a forthright quality of "I was there; I saw this," with the singer seizing on a word that signaled the angels' loving wonder at their Maker's achievements.” - The Austin Chronicle
B Minor Mass with Boston Cecilia
“Bass Bradford Gleim was affecting in the “apostolicam ecclesiam” of the “Et in spiritum sanctum,” words that Bach set with unexpected ardor for a Lutheran.” - The Boston Globe
“Bradford Gleim’s Et in spiritum was handsome of sound and graceful in phrasing.” - The Boston Musical Intelligencer
Christmas Oratorio with the Handel and Haydn Society
“The reliable Bradford Gleim’s bass proved as rich and resonant as ever.” – Hub Review
“A brief recitative [was] sung expressively by Bradford Gleim. The bass aria that followed…was a triumphal affirmation with Gleim’s ringing bass rivaling the virtuosity of the trumpet obbligato. ” –The Boston Musical Intelligencer
“The trio of trumpets—Vincent Monaco joined Paul Perfetti and Jesse Levine—were particularly sharp and in prime form, adding a glorious sound…Levine also displayed fine execution while accompanying Bradford Gleim’s rich bass voice in the declamatory aria Grosser Herr.” – Boston Classical Review
Sullivan’s Golden Legend with The Longfellow Chorus
As Lucifer, Bradford Gleim - even in concert dress - made for a convincing Victorian-era looking devil, and his rich, sonorous voice got the prologue off to a roaring good start, as he attempts to summon his demons. Throughout, Gleim’s devil exhibited perfect amounts of gleeful mischief to make him just evil enough, but also a lot of fun. - Shark on Arts Blogspot
St. Matthew Passion with The Handel and Haydn Society
“The lesser vocal roles were all well-performed, with bass Bradford Gleim standing out as a surly Peter and a demanding high priest Caiphas.” – Boston Classical Review
Christmas Oratorio with The Handel and Haydn Society
“Bass, Bradford Gleim, was particularly excellent [and] sang with tender fullness, adding much to the performance.” – Fine Arts Reviews
St. Matthew Passion with Boston Cecilia
“Baritone Bradford Gleim and Bass Robert Honeysucker contributed concise, telling performances as Peter and Pilate, sustaining both the narrative as well as emotional thread of the work.” – The Boston Musical Intelligencer
“Other superb solo work was delivered by baritone Bradford Gleim. Gleim’s rich, expressive voice was consistently impressive and his restraint only reinforced his vocal charisma.” – Boston Classical Review
Septemberfest at Longy School of Music
“Gleim and Merfeld maintained an expressive ebb and flow that illustrated the text. Gleim made one more appearance, with Brian Moll at the piano, to perform Ralph Vaughan Williams’s “Youth and Love” from the Songs of Travel. It was sung and played handsomely, with the piano’s steady pulse illustrating the determination of a young man to see the world but not be sidetracked by worldly pleasures.” – The Boston Musical Intelligencer
Handel’s Israel in Egypt with the Handel and Haydn Society
‘Nikolas Nackley and Bradford Gleim sang the famous bass duet “The Lord is a man of war’’ as a sort of testosterone-laden showdown.” –The Boston Globe
CPE Bach’s Magnificat with Simon Carrington and Canto Armonico
“Among the soli, alto Heather Gallagher and baritone Bradford Gleim, with agile tenor Charles Blandy, distinguished themselves by the care and sweetness they brought to bear on their texts.” –The Boston Musical Intelligencer