"Outstanding among a consistently fine ensemble [is] Ben McAteer as Dostoyevsky's representative, the resilient aristocrat, Goryanchikov"
"As Tolloller and Mountararat, Ben Johnson and Ben McAteer were irresistible – their vowels decliciously Victorian-aristocrat, their acting only just over the top…"
"Ben McAteer presents an intriguing figure, smoothly-sung, decisive yet distracted, a reading of the role that is disarmingly naturalistic."
Goldenplec Music News
Northern Irish baritone Ben McAteer trained at the National Opera Studio in London and on the Guildhall School of Music & Drama opera course. Before embarking on a musical career, he studied Chemistry at the University of St Andrews.
Recent and future operatic highlights include Schaunard La bohème for Irish National Opera, Eisenstein Die Fledermaus and Marullo Rigoletto for Northern Ireland Opera, Marcello La bohème for Lyric Opera Ireland, a concert performance of Die tote Stadt as Fritz/Pierrot with the RTÉ National Symphony Orchestra, Earl of Mountararat in Gilbert & Sullivan’s Iolanthe at English National Opera, Count Almaviva in Irish National Opera’s production of Le Nozze di Figaro and Father Hansel and Gretel, which he also recently performed at Regent’s Park Open Air Theatre, and Pangloss & Voltaire in Leonard Bernstein’s Candide for West Green Opera and the Xi’an Symphony Orchestra. While in residence there, Ben created the role of James in the world première of The Devil Inside, for which he won Outstanding Performance in an Opera at the My Theatre Awards in Toronto. He also sang the title role in Le Nozze di Figaro and toured as Guglielmo in Cosí fan tutte and Pish-Tush in The Mikado. In 2020 he was due to sing Grand Inquisitor The Gondoliers for Scottish Opera.
Other notable roles include Falke Die Fledermaus and Goryanchikov From the House of the Dead for Welsh National Opera, Papageno The Magic Flute for Northern Ireland Opera, Sharpless Madama Butterfly at Opera Holland Park, Peter Hansel & Gretel with Clonter Opera, Des Grieux Le Portrait de Manon, Remigio La Navarraise, and Mr Webb in the European première of Ned Rorem's Our Town.
McAteer’s extensive concert repertoire includes Handel Messiah and Samson, Beethoven Symphony No. 9, Bach St John Passion, Christmas Oratorio and Mass in B Minor, Mealor Crucifixus, Adams The Wound-Dresser and Requiem masses by Brahms‚ Duruflé‚ Fauré and Mozart. Other concert performances include the world première of Turnage’s At Sixes & Sevens with the LSO, Carmina Burana at the Barbican, and performances of Vaughan Williams' Fantasia on Christmas Carols and Copland's Old American Songs with the Ulster Orchestra.
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Recording: 3 English operettas (Sullivan, Ford and Cellier)
BBC Concert Orchestra / Dutton Vocalion (2020)
Ben McAteer’s urbane strikes a better balance” [Haddon Hall] / “…the title roles provide Ben McAteer with well-taken comedy chances.” [Mr Jericho and Captain Billy]
Die Fledermaus (Eisenstein), Northern Ireland Opera
Ben McAteer was a game Eisenstein…
Robert Thicknesse, Opera Now
Ben McAteer found ample humour in Eisenstein's self-inflicted quandary...
Michael Quinn, Opera Magazine
La belle Hélène (Calchas)
Blackheath Halls Opera (July 2019)
Ben McAteer gave an object lesson in comic opera as Calchas.
Yehuda Shapiro, Opera Magazine
Die tote Stadt (Frank/ Fritz)
RTE National Symphony Orchestra (April 2019)
Ben McAteer contributed a sonorous and sympathetic portrait of Frank, with a particularly fine rendition of the waltz song 'Mein Sehnen, mein Wähnen'.
Ian Fox, Opera Magazine
Baritone Ben McAteer really stood out in his different roles as Frank and Fritz. His aria “Mein Sehnen, mein Wähnen” was touchingly sung and in his mid- range his voice possessed a noble, romantic tone.
Andrew Larkin, Bachtrack
The Marriage of Figaro (Title)
Cork Opera House (March 2019)
Ben McAteer impressed as a powerful Figaro with a commanding stage presence.
Cathy Desmond, Irish Examiner
CD: Sullivan The Light of the World, BBC Concert Orchestra [Dutton Epoch 2CDLX7356]
Among the excellent team of soloists there are standout contributions from the baritone Ben McAteer…
Andrew Achenbach, Gramophone
All soloists make their mark... but ultimately it’s baritone Ben McAteer’s emphatic Jesus that impresses most.
George Hall, BBC Music Magazine***** (Choral & Song Choice)
Le Nozze di Figaro (Count Almaviva)
Irish National Opera (April 2018)
Ben McAteer conveys youthful brio as the frustrated Count who believes he’s making all the right moves but can’t quite figure out why he is so consistently thwarted.
The Irish Times
The Count, in Ben McAteer's authoritative baritone, uses his height to great advantage and makes for a charming villain, as he bumbles about getting outwitted by all.
It's the Count who has the trickiest role to maintain, keeping on the right side of caricature that can either go the way of pathetic bumbling fool to unsympathetic cheating lecher, neither of which tend towards a convincing redemption. Ben McAteer's Almaviva carried a measure of those characteristics, but - in line with the well-considered period setting - was more of a last-gasp opportunist finding that the times (and women's rights) were fast catching up with his sort. His singing was perfectly measured for technique and character, a perfect foil for whoever he was on stage with at any given moment.
As for the lecherous Count, Ben McAteer looked every inch the part, towering above the rest of the cast, the sweet heft of his baritone voice projecting very well.
Ben McAteer is terrific playing the Count as a slightly thick toff.
The Count was a suitably dominating physical and vocal presence, booming out clearly even in larger ensembles.
Journal of Music
Ben McAteer presents an intriguing figure, smoothly-sung, decisive yet distracted, a reading of the role that is disarmingly naturalistic.
Goldenplec Music News
Iolanthe (Earl of Mountararat)
English National Opera (April 2018)
As Tolloller and Mountararat, Ben Johnson and Ben McAteer were irresistible – their vowels decliciously Victorian-aristocrat, their acting only just over the top…
Ben McAteer gets the gormless dignity of Lord Mountararat down pat, and when he’s not camping it up with Ben Johnson’s Tolloller…swaggers sonorously through ‘When Britain Really Ruled the Waves.’
The brace of earls, Tolloller (Ben Johnson) and Mountararat (Ben McAteer), are the smoothest and wittiest of the lot, and their singing is sublime.
What's On Stage
The pair of dippy earls, Ben Johnson (Earl Tolloller) and Ben McAteer (Earl of Mountararat), sang beautifully and have the makings of a classic comic duo. Next, their own show?
As the two Earls, Tolloller and Mountararat respectively, Ben Johnson and Ben McAteer show a pleasing instinct for the G&S idiom, and the self-deprecating satire of the latter’s ‘When Britain Really Ruled the Waves’, as Gilbert lampoons the two-party system, stingingly hit the mark.
Ben Johnson and Ben McAteer find exactly the right mode of deadpan deliberation which, in their heyday, the unjustly-axed D’Oyly Carte company (which some of us still remember) had to a T.
Ben Johnson and Ben McAteer seemed to be having the time of their lives as the two love-smitten Earls, all deft foot-work, delightful characterisation, and pukka accents, yet superbly sung too.
The rival Earls Tolloller and Mountararat, tenor Ben Johnson and baritone Ben McAteer, sing just as beautifully and act out their more-than-bromance, public-school style, deliciously.
The Arts Desk
As the hereditary peers Ben Johnson and Ben McAteer are nicely differentiated; the latter comes close to stealing the show with ‘When Britain really ruled the waves’.
From the House of the Dead (Goryanchikov)
Welsh National Opera (October 2017)
Outstanding among a consistently fine ensemble [is] Ben McAteer as Dostoyevsky's representative, the resilient aristocrat, Goryanchikov.
But the ensemble cast is beyond reasonable criticism‚ not least for the uniform excellence of its enunciation of Pountney’s serviceable translation...while Adrian Thompson‚ Ben McAteer and Mark Le Brocq shine in lesser roles.
As Goryanchikov, Ben McAteer has less to do and sing than one might have expected, given that the character’s experience, in a sense shapes the work, he is there as a political dissident, not as a thief and/or a murderer like most of the others, and the work begins with his entry into the prison and ends with his release from it; even so, McAteer made one warm to the character’s dignity and humanity, both in the way he resisted the taunts of some of the other prisoners and in the kindness of his treatment of Aleya.
Seen & Heard International
The Rape of Lucretia (Tarquinius)
|Gilbert & Sullivan||
HMS Pinafore (Captain Corcoran)
Boulevard Solitude (Lescaut)*
Hansel & Gretel (Peter)
From the House of the Dead (Goryanchikov)
Die Tote Stadt (Frank/Fritz)
The Devil Inside (James)
La Navarraise (Remigio)
Così fan tutte (Guglielmo)
La Bohème (Marcello)
Dido & Aeneas (Aeneas)
Our Town (Mr Webb)
Die Fledermaus (Falke)
Eugene Onegin (title role)*
Oratorio / Masses Repertoire
Symphony No. 9 – “Choral"
A German Requiem
The Apostles (Jesus)
The Dream of Gerontius
The Kingdom (St Peter)
The Golden Legend
Magnificat in G
Orchestral Song / Other Repertoire
The Wound Dresser
Old American Songs
Let Us Garlands Bring
The Wind Among the Reeds
Mass in G
Songs of the Fleet
At Sixes & Sevens
Fantasia on Christmas Carols