Stunning soprano Greta Bradman is one of Australasia’s most celebrated operatic and concert artists. Her 2015 début album for Decca Classics My Hero (c. Richard Bonynge; English Chamber Orchestra) received five-star reviews and topped the classical and classical crossover ARIA charts for several months. Her new album Home (c. Luke Dollman; Adelaide Symphony Orchestra) is scheduled for release in 2018.

Greta has sung extensively in the United Kingdom, United States, Europe and throughout the Asia Pacific.  A regular soloist with all the state symphony orchestras, her collaborators have included Zubin Mehta, Richard Bonynge, Matthias Foremny, Richard Tognetti, Teddy Tahu Rhodes, Benjamin Northey, Rosario La Spina, Aled Jones, Russell Watson and Il Divo.

She has performed for world leaders from the UK, USA, China, India, Monaco and Australia; highlights include singing for Barack Obama, and a 2014 recital in St James’s Palace for the British Royal Family.  Winner of the 2013–14 Australian International Opera Award and the APRA/AMCOS Award in 2013, Greta is a Helpmann Award nominee and was Limelight Magazine’s 2010 Newcomer of the Year and their 2015 Australian Artist of the Year.

After obtaining her music degree from the Elder Conservatorium of Music, Greta received her Fellowship from the Australian National Academy of Music before completing a Graduate Diploma in Advanced Vocal Studies at the Wales International Academy of Voice - where she studied under Dennis O’Neill CBE and Dame Kiri Te Kanawa.



Auf Flügeln des Gesanges op.34/2  - Felix Mendelssohn

Suleika op.34/4

Frage op.9/1

Greta Bradman-Soprano

Anna Grinberg- Piano


Three Lorca Songs  -  Paul Stanhope

  1. Song for the Moon
  2. Madrigals
  3. Song of the Seven Maidens (Theory of the Rainbow)

Greta Bradman- Soprano

Adam Chalabi- Violin

Patrick Murphy- Cello

Liam Viney- Piano


Four Last Songs - Richard Strauss (arranged by Iain Grandage)

  1. Frühling
  2. September
  3. Beim Schlafengehen
  4. Im Abendrot

Greta Bradman- Soprano

Adam Chalabi and Brendan Joyce- Violins

Patricia Pollett- Viola

Meta Weiss- Cello

Anna Grinberg- Piano


  1. Song for the Moon

When the moon appears

Bells fade out

and impenetrable paths


When the moon appears

the sea spreads over the land

while the heart feels like an island

of infinity.

No one eats oranges

Under the full moon

Fruit should be eaten

Green, ice cold.

When the moon appears

with its hundred faces all alike,

silver coins are

sobbing in pockets.

The Moon Appears


  1. Madrigals


Like concentric waves

on the water

So are your

words in my heart.

Like a bird that collides

into the wind

So your kiss

on my lips.

Like fountains open

to the evening

So my black eyes on your skin


I’m caught

in your concentric


Like Saturn

I heave around rings


from my dreams

I cannot drown myself

Nor am I rising,

My Love!



  1. Song of the Seven Maidens

(Theory of the Rainbow)


Seven young maidens singing

(An arc across the sky

with many sunsets)

One soul with seven voices,

The seven maidens.

(In the white air,

seven long birds).

Dying, the seven maidens dying.

(Why weren’t there nine?

Why weren’t there twenty?)

The river takes them

No one can see them.



For soprano, violin, cello and piano


Composer’s Note

I have, for a long time, been attracted to the poetry of Federico García Lorca. The richness of

imagery, even when translated from Spanish into English, retains its startling colours that

sparkle and leap off the page. Lorca’s love of music and ability to capture musicality within

poetry made the setting of these texts a real joy. The set began with a commission from the

Adelaide-based Benaud Trio and was completed in 2016 with the addition of a new first song

Song for the Moon commissioned especially for the Australian Festival of Chamber Music in

Townsville where the complete set was first performed.

Song of the Moon begins with a series of bell-like chords which echo through this movement.

This night scene features musical evocations of the quietness of night as well as the surging of

the sea and the crystalline imagery of cold moonlight. Taste and touch are an important part of

the sensuality of this poem which is taken from a set of songs about the moon.

Madrigals is one of a number of Lorca’s poems that refer to musical forms. A madrigal is a

two-part form made popular in the early seventeenth century. Lorca mimics this traditional two

part structure here. The musical setting is reflective and has an improvisatory quality to it and,

like the first song, the harmonic language is somewhat impressionistic in its nature. The first

verse of this song is dominated by languid vocal lines and a decorative accompaniment

dominated by the piano. The second verse suggests a more hallucinatory experience. Set over

drones in the string parts parts, the soprano part leaps to the high register and snakes its way

through a series of intricate melismatic patterns.

The final movement – Song of the Seven Maidens (Theory of the Rainbow) – is a more jaunty

and dance-like piece which takes its text from a series of “theory” poems that play with the

folk-like telling of legends. The Seven Maidens personify the colours and forms of the rainbow.

The bright imagery of the poem has prompted a rhythmically quirky response with pizzicato

riffs perhaps hinting at the idea of Spanish guitar music. Numeric imagery is behind much of

the musical construction of this song: rhythmic groupings of seven are prominent throughout,

not only in 7/8 time signatures, but through the division of the seven rhythm into groups of 2

and 3. This creates cross-rhythmic patterns that propel the music forward. A middle section

describing the “dying” of the maidens is a brief respite from the dance which resumes and

hurtles the movement toward its climax and then a more peaceful, flowing setting of the music,

suggesting the image of a Rainbow disappearing into a river at the end of the work.


Zelman Cowen Building, UQ St Lucia
The Nickson Room