Ben McAteer

Baritone

"Outstanding among a consistently fine ensemble [is] Ben McAteer as Dostoyevsky's representative, the resilient aristocrat, Goryanchikov"

Financial Times

"As Tolloller and Mountararat, Ben Johnson and Ben McAteer were irresistible – their vowels decliciously Victorian-aristocrat, their acting only just over the top…"

Opera Magazine

"Ben McAteer presents an intriguing figure, smoothly-sung, decisive yet distracted, a reading of the role that is disarmingly naturalistic."

Goldenplec Music News

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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 Marullo Rigoletto for Northern Ireland Opera, a concert performance of Die tote Stadt as Fritz/Pierrot with the RTÉ National Symphony Orchestra, the 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 Pangloss & Voltaire in Leonard Bernstein’s Candide for West Green Opera and the Xi’an Symphony Orchestra. While in residence at Scottish Opera, 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.

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.

This biography is for information only and should not be reproduced.

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.

Irish Independent

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.

Opera Journal

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.

BachTrack

Ben McAteer is terrific playing the Count as a slightly thick toff.

Irish Examiner

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…

Opera Magazine

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 Spectator

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?

The Observer

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.

Opera Today

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.

The Independent

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.

Robert Hugill

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’.

Classical Source

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.

Financial Times

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.

The Telegraph

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

Opera Repertoire

Bernstein

Candide (Voltaire/Pangloss/Martin)

Britten

The Rape of Lucretia (Tarquinius)

Gilbert & Sullivan

HMS Pinafore (Captain Corcoran)
Iolanthe (Earl of Mountararat)
Patience (Colonel Calverley/Grosvenor)
The Grand Duke (Ludwig)
The Mikado (Pish-Tush/Pooh-Bah)
The Pirates of Penzance (Major-General Stanley/Pirate King)
Trial by Jury (The Learned Judge)

Henze

Boulevard Solitude (Lescaut)*

Humperdinck

Hansel & Gretel (Peter)

Janáček

From the House of the Dead (Goryanchikov)

MacRae

The Devil Inside (James)

Massenet

La Navarraise (Remigio)
Le Portrait de Manon (Des Grieux)

Mozart

Così fan tutte (Guglielmo)
Die Zauberflöte (Papageno)
Le Nozze di Figaro (Count Almaviva/title role)

Puccini

La Bohème (Marcello)*
Madama Butterfly (Sharpless)

Purcell

Dido & Aeneas (Aeneas)

Rorem

Our Town (Mr Webb)

Strauss

Die Fledermaus (Falke)

Tchaikovsky

Eugene Onegin (title role)*

*role studied/covered

Oratorio / Masses Repertoire

J.S. Bach

Christmas Oratorio
Mass in B Minor
St. John Passion

Beethoven

Symphony No. 9 – “Choral"

Brahms

Requiem

Durufle

A German Requiem

Elgar

The Apostles (Jesus)

Fauré

Requiem

Handel

Dixit Dominus
Messiah
Samson (Manoa/Harapha)

Haydn

Nelson Mass
Missa in tempore belli

Mealor

Crucifixus

Mozart

Requiem
Mass in C Minor

Orff

Carmina Burana

Stravinsky

Pulcinella

Sullivan

The Golden Legend
The Light of the World (Jesus)
The Prodigal Son

Vivaldi

Magnificat in G

Orchestral Song / Other Repertoire

Adams

The Wound Dresser

Copland

Old American Songs

Delius

Cynara

Finzi

Let Us Garlands Bring

Hay

The Wind Among the Reeds

Schubert

Mass in G

Stanford

Songs of the Fleet

Turnage

At Sixes & Sevens

V. Williams

Fantasia on Christmas Carols
Five Mystical Songs
Songs of Travel

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