Benjamin Bevan


"Skilled and memorable work from Benjamin Bevan's villainous Achilla"

The Stage

"Benjamin Bevan’s smooth, attractive baritone fits Massenet’s stylistic hybrid to perfection."

The Independent

"Pilatus (Benjamin Bevan)...was a tower of strength."


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Benjamin Bevan won a scholarship to study at the Guildhall School, London and made his international début at Lausanne Opera in La Cenerentola.

He made his UK début at Scottish Opera as Marcello La Bohème followed by return invitations to sing Fleville and Fouquier-Tinville in Andrea Chenier under Sir Richard Armstrong and Riccardo I Puritani, Lescaut in Massenet’s Manon and Marcello in the revival of La Bohème under Francesco Corti. He made his debut at The Royal Opera House, Covent Garden singing Henry Cuffe in Gloriana by Benjamin Britten and subsequently made his debut at Welsh National Opera in two new productions: singing Lescaut in Boulevard Solitude by Henze followed by Roderick Usher in Usher House by Getty. He went on to sing Lescaut for the Royal Danish Opera and has also sung Count Almaviva Le Nozze di Figaro for Longborough Opera.

Other engagements include The Speaker Die Zauberflöte for the Royal Opera House, Notary Intermezzo for Garsington Opera, performances of Bach’s St Matthew Passion and Handel’s Messiah with Bach Collegium Japan under Masaaki Suzuki and with the Royal Northern Sinfonia under Paul McCreesh, Bach’s Christmas Oratorio with the Stavanger Symphony Orchestra under John Butt, and Bach’s B Minor Mass at The Three Choir’s Festival.

Recent and future engagements include Baron Douphol La traviata for English National Opera, Ferryman Curlew River for Opéra de Dijon and Ante Terminum Productions, Achilla Giulio Cesare for English Touring Opera, Der Haushofmeister Capriccio for Garsington Opera, the world premiere of Simone Spagnolo’s Faust, Alberta for Opera in the City Festival, Handel’s Messiah with the Colorado Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra, the Royal Philharmonic Orchestra, and with the Royal Scottish National Orchestra, Bach’s St Matthew Passion with the BBC Philharmonic Orchestra, Bach’s St John Passion with RTÉ National Symphony Orchestra, Beethoven’s Missa Solemnis with the Bach Collegium Japan, and a performance of Bach’s Cantata BWV 206 at St John’s Smith Square in London to mark the 70th anniversary of the London Bach Society.

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Simone Spagnolo Faust, Alberta (Nameless Man)

Opera in the City Festival (September 2018)

Bevan, meanwhile, arouses admiration for the clarity of his diction and his fearless handling of the score’s stream of vocal demands.

Yehuda Shapiro, The Stage****

Benjamin Bevan - making every word tell as he rose fearlessly to the hour-long stream of vocal demands.

Yehuda Shapiro, Opera Magazine

A mesmerising performance from Benjamin Bevan illuminates this striking new philosophical monodrama which re-interprets the Faust-legend. … Bevan's performance was a real tour-de-force as he railed and wondered, gradually assembling his self before our eyes in a performance that was completely mesmerising. The Bridewell Theatre is quite a small venue, so there was nowhere to hide and Bevan was fully present at all times, by turns touching and thrilling.

Robert Hugill, Planet Hugill

The man is played by the baritone Benjamin Bevan and his uber-musical voice seems to fit the part perfectly – there are no showpiece arias and the melodic theme flows.

Paddy Briggs,

We have here a performance of rare power and stamina by baritone Benjamin Bevan, who sings more or less continuously for the length of the piece, barring some few instrumental interludes. He is a more than plausible actor well capable of the extremes of mood, ranging from anguish to elation, that the role requires; and very much on top of the harsh vocal demands and the large amount of separately spoken text that breaks up the scenes.

Tim Hochstrasser, Plays to See

Strauss Capriccio (Haushofmeister)

Garsington Opera, May 2018

A special mention for Benjamin Bevan’s long-suffering Major-Domo.

Hugo Shirley, The Financial Times****

Mr Handel’s Vauxhall Pleasures, London Early Opera

(April 2018)

Benjamin Bevan's delightful turn as Polyphemus in 'O ruddier than the cherry' from Acis and Galatea.

Robert Hugill, Planet Hugill

Verdi La Traviata (Baron Douphol)

English National Opera, March 2018 was only Benjamin Bevan as Violetta’s protector, Baron Douphol, whose voice really stood out.

Jim Pritchard, Seen and Heard International

Britten, Curlew River (The Ferryman)

Church of St Bartholomew the Great, January 2018

Ben Bevan trenchantly characterised the bluff Ferryman’s growing sympathy for the Madwoman’s plight.

Peter Reed, Classical Source****

Ben Bevan’s gruff, rich-toned humanity as the Ferryman supplied the grit around which this little pearl of a production coalesced. Atmospheric and sensitively performed, its emotional impact was out of proportion to its scale.

Richard Bratby, The Spectator

Benjamin Bevan brought experience and superb vocal quality to his central performance as the Ferryman.

Cary Gee, Tribune

Handel Giulio Cesare (Achilla), English Touring Opera

Hackney Empire, October 2017

As Achilla, Benjamin Bevan’s glossy baritone took on a dark unctuousness at the bottom, as he attempted to seduce Cornelia with bullying menace in Act 1’s ‘Tu sei il cor di questo core'.

Claire Seymour, Opera Today

Ben Bevan made a coarse but emphatic Achilla.

Robert Thicknesse, Opera Now

As Achilla, Benjamin Bevan reveals a very strong and secure baritone.

Sam Smith, MusicOMH****

skilled and memorable work from Benjamin Bevan's villainous Achilla.

George Hall, The Stage

Benjamin Bevan as decapitator-in-chief, Achilla makes the move from demonic to doleful and even manages to arouse some sympathy in his forlorn love of Cornelia. His fine bass brings a little earthiness to the otherwise uniformly bright sound of the higher register voices.

Graham Wyles, Stage Talk Magazine****

Benjamin Bevan's Achilla was a bluf soldier, his arias rough, vivid and characterful.

Robert Hugill, Planet Hugill

Benjamin Bevan’s rich and manly bass is welcome in the role of the predatory Achilla.

Christopher Smith, Eastern Daily Press

Joubert St Mark Passion Recording

Wells Cathedral, June 2017

He has a firm, well-focussed voice and sings with great intelligence. Bevan invests his role with just the right degree of dignity. 

John Quinn, MusicWeb International

Longborough Festival Opera, Le Nozze di Figaro

Longborough (June 2016)

Baritone Benjamin Bevan gave us an Almaviva who really was an aristocrat; burly and bored, he roamed and lounged while deploying a voice that is unusually soft and supple. Lacking a grain to it, the lyrical quality of the voice was ideally suited to the Count’s moments of seduction, but Bevan summoned up plenty of thunder and bluster, particularly in the Countess’ bedroom in Act II, and his "Hai gia vinta la causa... Vedro mentr'io sospiro" was a highlight of the evening.

Dominic Lowe,

Benjamin Bevan is a forthright, bullish, shotgun-toting Almaviva, slow moving like a highland stalker, but superbly aggressive in his Act 3 aria.

Stephen Walsh,

Once again Longborough Opera has assembled a cast of excellent singers who assume the character of the roles they play to perfection. Benjamin Bevan is a brute of an aristocrat consumed with lust rather than love, who manages to inspire our loathing almost to the end when he receives his comeuppance. But what a voice he has!

Roger Jones,

Benjamin Bevan...turned in a performance of notable stature.

Curtis Rogers,

As the Count, Benjamin Bevan reveals excellent tone and at his best asserts his baritone very powerfully.

Sam Smith,

Benjamin Bevan is convincing in his role as the cunning but much-thwarted Count Almaviva.

Gill Sutherland, Stratford-upon-Avon Herald

​Walton Belshazzar’s Feast

St John the Evangelist, Bath (June 2016)

Here the intense musical drama unfolded in huge waves of gorgeous sound, interspersed with narrative powerfully sung by Benjamin Bevan.

Dan Biganne, Bath Chronicle

Britten Curlew River (Ferryman)

Opéra de Dijon, Grand Théâtre, Dijon (April 2016)

Baritone Benjamin Bevan convincingly expressed the gruff kindness that characterizes the Ferryman.

Jean-Marc Piriou,

The character development of the Ferryman interpreted with a martial tone by Benjamin Bevan is subtly delivered: a sly man, willingly derisive or profiteer, he shows compassion for the Madwoman on learning of her past.

Damien Dutilleul, Olyrix

The Ferryman is sung by Benjamin Bevan, a magnificent baritone who has also performed several other roles by Britten. With a natural authority and an imposing figure, he is a singer with a resonant voice, well-balanced and with a permanent intelligibility.

Yvan Beuvard, Forum Opera

The character of the Ferryman, powerful and authoritative, is sung by Benjamin Bevan, a remarkable baritone with a sonorous, well-balanced voice whose articulation is exemplary.

Boulevard Solitude, Royal Danish Opera

The Royal Danish Opera House, Copenhagen (October 2015)

Her brother, Lescaut, who baritone Benjamin Bevan sings with swirling beauty and clout, is involved throughout the entire performance.

Christine Christiansen, Jyllands-Posten

As Manon’s brother, the baritone Benjamin Bevan seems incapable of behaving with any sense of love or care, but does a sterling job in tackling the impossible vocal leaps, which require quick-fire delivery.

Thomas Michelsen, Politiken

Similarly, baritone Benjamin Bevan makes Manon’s brother spiteful in just the right way; one senses what is at stake for him with Manon and her attraction for rich men, his golden calf, without whom he would have to scrape through life.

Jakob Wivel, Børsen

Handel in Italy Vol I, Signum Classics

London Early Opera

Baritone Benjamin offers a fine cantata.

Nicholas Kenyon, The Observer

The cantata 'Cuopre tal volta il cielo' is sung with comparable engagement by Benjamin [Bevan], an attractive lyric baritone who relishes Handel’s storm of thunderclaps and terror.

Mark Valencia, Sinfini Music

Benjamin Bevan throws off the work’s vocal gymnastics with much aplomb.

Alastair Harper, Early Music Review

Finely performed by Benjamin Bevan.

Robert Hugill,

Garsington Opera, Intermezzo

Garsington (June 2015)

The rest of the largely young cast is also superb, with Benjamin Bevan’s bumbling Notary particularly worthy of praise.

Hugo Shirley, Financial Times

She’s flanked by a mostly strong cast...Benjamin Bevan’s lawyer [is] excellently shambolic.

Neil Fisher, The Times

Royal Opera House, Die Zauberflöte

Covent Garden, London (February 2015)

Smaller roles go well, too, especially...Benjamin Bevan’s grandly articulate Speaker.

George Hall, The Guardian

He had good back-up in Benjamin Bevan’s expansive Speaker – his short scene with Tamino and the orrery was one of the evening’s visual coups.

Peter Reed,

Sarastro presented gravitas leavened by humanity, as did Benjamin Bevan’s Speaker.

Mark Berry,

Benjamin Bevan was an unusually youthful Speaker, but he gave the role the required grandeur and authority.

Melanie Eskenazi, Music OMH

Royal Northern Sinfonia, Messiah

The Sage Gateshead (December 2014)

The other big duet is “The trumpet shall sound” and Richard Martin, standing out at the front with baritone Benjamin Bevan made his trumpet truly sing. Sometimes I find this aria goes on a bit, but the musical partnership here was so enjoyable that I gave a little inner cheer when I realised they were doing the full da capo version.

Jane Shuttleworth,

Each soloist – soprano Juliet Bauer, countertenor James Laing, vigorous tenor Samuel Boden and robust bass Ben Bevan – was given a moment to shine by the composer.

Rob Barnes, The Journal

Usher House

Welsh National Opera (June 2014)

Benjamin Bevan is excellent [as Roderick Usher].

Rupert Christiansen, The Daily Telegraph

A fine performance from Benjamin Bevan.

Anna Picard, The Times

The baritone Benjamin Bevan's account of Roderick Usher is excellent.

Paul Driver, The Sunday Times

Baritone Benjamin Bevan as Roderick Usher, sustain[s] convincingly the conversational arioso style that makes up so much of the piece.

Peter Reynolds, Opera Now

Royal Northern Sinfonia, St Matthew Passion

The Sage Gateshead (April 2014)

Benjamin Bevan was outstanding in the bass arias.

Alfred Hickling, The Guardian ****

Boulevard Solitude

Welsh National Opera (February 2014)

Benjamin Bevan as Lescaut... is first-rate.

Rupert Christiansen, The Telegraph ****

Benjamin Bevan’s cocaine-pushing, thieving, pimping Lescaut.

Richard Morrison, The Times *****

Bevan... is first-rate.

Andrew Clements, The Guardian***

Benjamin Bevan makes a bluff Lescaut... The entire enterprise is a deserved triumph for WNO.

Andrew Clarke, Financial Times*****

The performance is superb down to the smallest role. Benjamin Bevan pulls no punches as Lescaut, an unredeemed villain compared to Puiccini’s wastrel.

Stephen Walsh, The Arts Desk

As Lescaut, Benjamin Bevan was vocally forceful.

Rian Evans, Opera Magazine

Ludus Baroque – Christmas Oratorio

Canongate Kirk, Edinburgh (December 2013)

Baritone Benjamin Bevan’s delivery was steadfast and strong.

Kelly Apter, The Scotsman ****

Bass Benjamin Bevan and soprano Sophie Bevan were expressive both in solo and duet.

Sarah Urwin Jones, The Times

Remembrance Sunday Performance

Buxton Musical Society (November 2013)

The warm, rich voice of Ben Bevan, standing in for soloist Matthew Hargreaves, beautifully suited this work. [Five Mystical Songs]

Derbyshire Times


Royal Opera House

A special mention must also go to the rich-toned and jovial Ben Bevan who made his ROH debut as Henry Cuffe.

Melinda Hughes, Spear’s Magazine

St. John Passion, Nationale Reisopera

(April 2011)

Pilatus (Benjamin Bevan)...was a tower of strength.


Beautiful choir of the Reisopera...powerful orchestra…and the excellent voice of…Pilatus (Benjamin Bevan).


Manon [Lescaut]: Scottish Opera

(May / June 2009)

...but there is good support, too, from the lesser characters, particularly Benjamin Bevan’s nice-but-dim Lescaut.

The Guardian

...Benjamin Bevan’s goodtime Lescaut provides the laughs.

The Times

As Lescaut, here a helpless buffoon rather than the venal pimp of Puccini’s Opera, Benjamin Bevan’s smooth, attractive baritone fits Massenet’s stylistic hybrid to perfection.

The Independent

Benjamin Bevan, who made such a great impression in 'Puritani' last March, sounds vigorous and reckless as Lescaut...

Seen and Heard

...Benjamin Bevan’s playboy Lescaut most prominent in a defining team...

The Scotsman

La Bohème: Scottish Opera

(February - June 2010)

Benjamin Bevan’s hunky Marcello...

Financial Times

...Benjamin Bevan (a stalwart Marcello)...

The Scotsman

Benjamin Bevan...played his heart out as Marcello, popping up with a late flourish to save the day. Great team awareness.

The Sun

Benjamin Bevan’s Concert Repertoire


Mattheus Passion
Johannes Passion
Mass in B Minor
Christ lag in todesbanden (Cantata No. 4)
Erfreut Euch
Weihnachts Oratorium
Oster Oratorium
Ach Gott, wie manches Herzeleid (Cantata No. 3)
Lob den Herren (Cantata No. 137)
Was frag ich nach der welt (Cantata No. 94)
Ihr, die ihr euch von Christo nennet (Cantata No. 164)
Ich habe genug (Cantata No. 82)
Am Abend aber desselbigen Sabbats (Cantata No. 42)

Christ lag in todesbanden (Cantata No. 4)


Mass in C






Messe cum Jubilo


Mass in D


The Dream of Gerontius
The Apostles




Messe de Ste Cecile


Coronation Anthems
Israel in Egypt
Judas Maccabaeus


Nelson Mass
Harmonia Mass
Saint Nicholas Mass
Creation Mass


Lauda Sion


Mass in D
C Minor mass
Coronation mass


King Arthur
Ode to St Cecelia
O sing unto the lord
Fairie Queen
Indian Queen


Mass in G
Mass in B flat


A Child of Our Time


Belshazzar's Feast

Benjamin Bevan’s Opera Repertoire


The Tempest (Prospero)


Aspern Papers (Barelli)


Fidelio (First Prisoner)


I Puritani (Riccardo)


Lulu (Animal Tamer, Acrobat)
Wozzeck (Wozzeck)


Béatrice et Bénédict (Claudio)
Damnation de Faust (Mephistophiles)


Carmen (Morales)


Albert Herring (Mr. Gedge, Sid)
Billy Budd (Donald, Billy Budd)
Curlew River (Ferryman)
The Rape of Lucretia (Tarquinius)


La Calisto (Mercurio)
Orion (Filotero)


Le Roi Arthus (Arthus)


Pelleas et Melisande (Pelleas)


Don Sebastiano (Don Sebastiano)
L'elisir d'amore (Belcore)


Andrea Chénier (Fouquier Tinville, Pietro Fléville)


Armide (Ubalde)
Iphigénie en Tauride (Oreste)


Faust (Wagner, Valentin)


Giulio Cesare (Achilla)


Hansel & Gretel (Peter)


Pagliacci (Silvio, Tonio)


Ines de Castro (Pacheco)


L’Amico Fritz (Hanezò)
Cavalleria Rusticana (Alfio)


Manon (Lescaut)


La favola d'Orfeo (Orfeo)


Cosi fan Tutte (Guglielmo, Alfonso)
Die Zauberflote (Papageno, Sprecher)
Don Giovanni (Don Giovanni)
Le nozze di Figaro (Count Almaviva)


Dialogue des Carmelites (Marquis de la Force)
Les Mamelles des Tiresias (Gendarme, Directeur)


War & Peace (Prince Andrei Bolkonsky)


La boheme (Marcello, Schaunard)
Madame Butterfly (Sharpless)
Tosca (Scarpia)
Turandot (Ping)


Dido & Aeneas (Aeneas)
King Arthur (All Baritone Roles)
Fairy Queen (All Baritone Roles)


Il Barbiere di Siviglia (Fiorello, Figaro)
La Cenerentola (Dandini)


Szenen aus Goethes Faust (Dr. Faust, Marianus)


Die Fledermaus (Falke)


Capriccio (Olivier)


The Rakes Progress (Nick Shadow)


The Queen of Spades (Yeletsky)
Eugene Onegin (Eugene Onegin)


Hamlet (Hamlet)


Aida (King)
Ballo in Maschera (Silvio, Renato)
Don Carlo (Rodrigo, Marquis de Posa)
Falstaff (Ford)
Macbeth (Macbeth)
Otello (Montano)
La traviata (Giorgio Germont)


Die Meistersinger von Nuernberg (Nightwatchman)
Tannhäuser (Wolfram von Eschenbach)
Tristan und Isolde (Steersman)

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