‘Joshua Bloom lit up the stage whenever he was on it.’
New York Times Pirates of Penzance – English National Opera

‘Joshua Bloom’s Daedelus is wonderful in a meticulously controlled performance.’
The Independent The Monster in the Maze, Dove – London Symphony Orchestra

‘A truly superlative performance……a richly sonorous bass.’
Washington City Paper La Bohème – Washington National Opera

‘Among the male soloists, it was bass Joshua Bloom who left the most indelible impression. The voice is huge, almost cavernous, yet at the same time opulent. His extended, rhapsodical monologue as Pater Profundis had spine-tingling immediacy, and was one of the vocal highlights of the performance.’
Bachtrack Symphony No. 8, Mahler – Orchestra of the Music Makers, Singapore

‘A musical Brian Blessed.’
What’s On Stage Pirates of Penzance, Sullivan – English National Opera

‘If there’s a show-stealer in this Cenerentola, it’s Joshua Bloom’s Dandini. Bloom has already won a Green Room Award for his portrayal of the role, and it’s hardly surprising – he’s irresistibly, outrageously hilarious… He matches comic brilliance with vocal splendour, an opulent and flexible baritone.’
The Opera Critic La Cenerentola, Rossini – Opera Australia

Debuting Australian baritone Joshua Bloom turned the often negligible role of Masetto into a display of impressive power and phrasing.
The Associated Press Don Giovanni, Mozart – The Metropolitan Opera, New York

‘Joshua Bloom’s muscular baritone stole the show in his third act scene as poacher.’
New York Post The Cunning Little Vixen, Janacek – New York Philharmonic

‘Joshua Bloom was a superb Figaro, sustaining a strong sense of line and burnished timbre.’
The Australian The Marriage of Figaro, Mozart – Opera Australia

‘Joshua Bloom sang Masetto with a lush, plummy tone.’
The Classical Review Don Giovanni, Mozart – The Metropolitan Opera, New York

‘Joshua Bloom brings chilling power to the implacable poultry dealer.’
New York Times The Cunning Little Vixen, Janacek – New York Philharmonic

‘More incredibly, Joshua Bloom (the tutor Alidoro) had a gushing voice that some say you only get in a land of make believe.’
The Stage La Cenerentola, Rossini – Garsington Opera

‘Joshua Bloom’s Algernon manage to shape Barry’s athletic vocal lines into fully characterised melodies.’
New Statesman The Importance of Being Earnest, Barry – BCMG/Ades/The Barbican Centre

‘….hearty bass, Joshua Bloom in an endearing performance.’
New York Times Don Giovanni, Mozart – The Metropolitan Opera, New York

‘ ***** Joshua Bloom and Peter Tantsits make a superb double act’
The Guardian The Importance of Being Earnest, Barry – Opera Northern Ireland

‘Joshua Bloom, the extravagantly gifted Australian bass deployed his resonant tone with appealing flexibility.’
San Francisco Chronicle Le Pauvre Matelot, Milhaud – San Francisco Opera

‘The vocal splendor of Joshua Bloom’s Leporello…’
The Independent Don Giovanni, Mozart – Garsington Opera

‘Joshua Bloom’s Figaro is an engaging, good-looking bloke…. his resonant voice carries splendidly.’
Limelight Magazine The Marriage of Figaro, Mozart – Opera Australia

‘Joshua Bloom was pure testosterone as Harašta’
Wall Street Journal The Cunning Little Vixen, Janacek – New York Philharmonic

‘Joshua Bloom (as Masetto) was every inch the country bumpkin.’
LA Times Don Giovanni, Mozart – LA Opera

‘Virile bass Joshua Bloom.’
New York Times Le Grand Macabre, Ligeti – New York Philharmonic

‘I wanted to love Joshua Bloom’s sonorous Don Pedro (and who could help but love him as a singer?), but he’s so saddled with shiny knee-high boots, his officer’s hat, and cigarette after cigarette after cigarette that he just comes off like some kind of inverse drag queen. ‘
‘Telecommunicultury’ Beatrice et Benedict, Berlioz – Chicago Opera Theater