In 1974 he had an extremely successful debut at the Berlin Festival (Berliner Festwochen) (“Die Erprobung des Petrus Hebraïcus”- Henry Pousseur).

This resulted in an invitation by Maurizio Kagel to participate in the world premieres of “Mare Nostrum” (Berlin, Paris, Avignon) and “Die Umkehrung Amerika’s” (Prix Italia!).

Hans de Roo, Director of the Dutch Opera Foundation (Ned. Opera Stichting), had a belcanto role (”Maria Stuarda”- Donizetti) on offer for the avant-garde singer! Alongside Joan Sutherland (main part) and others John Bröcheler sang the role of the father confessor “Talbot”.

1977 was to be the start of a brilliant career in opera.

His “American debut” in San Diego (Verdi’s “Falstaff”, production: Tito Capobianco) was followed by various productions at the New York City Opera (Menotti’s – “La Loca” with Beverly Sills, “Don Giovanni” and Verdi’s “Nabucco” with Grace Bumbry as “Abigaile”).

He continued to build up his singing career via Los Angeles and Toronto (Ambroise Thomas – “Hamlet” with Dame Joan Sutherland as “Ophelia”).

John Bröcheler’s first LP, which included Schumann’s “Dichterliebe” (accompanied by Ton Crone on the piano), was awarded the “Preis der Deutschen Schallplatten Kritik”.

Through this he was overwhelmed with offers to sing in various opera houses and concert halls all over Europe.

Michael Gielen brought him to Frankfurt (”Amfortas” in “Parsifal”). The Opera of Stuttgart begged him to take on the almost vocally impossible role of the “Stadthalter” (Hans Werner Henze – “König Hirsch”).

This resulted in the following successful premieres: Hindemith’s “Mathis der Maler” and Von Einem’s “Dantons Tod”. Great German baritone roles, such as “Borromeo” (Pfitzner – “Palestrina”) and “Jupiter” (Richard Strauss – “Die Liebe der Danae”), were celebrated after a minimum of rehearsals by the audience and the press alike.

His home base Amsterdam experienced a great climax with him in Alban Berg’s “Wozzeck” (Haenchen/Dekker). For this reason Claudio Abbado invited him to play this title role also in the Berliner Philharmonie.

By 1984 he had already well established his international career, whereby the 50th anniversary of the Glyndebourne Festival played an important part (“Arabella”- R. Strauss – Haitink/Cox)!

After appearing in Paris (“Salomé”, “Elektra”), Geneva (“Pique Dame” and “Arabella”) and even in an “Elias”-production with Sawallisch in Rome, Claudio Abbado asked him to sing “Golaud” (“Pelleas et Melisande” – Debussy) at the Scala of Milan. A repeat performance then followed at the Wiener Staatsoper.

Gerard Mortier remained loyal to Bröcheler and invited him to spend various seasons in Salzburg (among others “Dr. Schön (“Lulu”), “Orest” (“Elektra”) and “Musikmeister (“Ariadne auf Naxos”).

A “Mahler-trip” through Israel with Giuseppe Sinopoli, who died far too young, lead to the later CD-production “Lieder eines fahrenden Gesellen” (Schönberg Ensemble) and “Des Knaben Wunderhorn” (Roberto Benzi).

Hartmut Haenchen was the great animator for a “Ring”adventure in Amsterdam (Haenchen/Audi).

“Wotan” travelled via Frankfurt and Bonn to Adelaide (Australia) and triumphed there in an incredible fashion (Asher Fisch/Elke Neidhardt)!!

In the meantime the “Lear”production in Amsterdam and Dresden had arrived on the front pages of the “Opera World”!

Very recently John Bröcheler has had great successes with the Hong Kong Philharmonic Orchestra, under the leadership of Edo de Waart, in an concert version of “Salomé” (Richard Strauss).