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Benjamin Bevan

Baritone

  • Benjamin Bevan’s smooth, attractive baritone fits Massenet’s stylistic hybrid to perfection.
    The Independent
  • Pilatus (Benjamin Bevan)...was a tower of strength.
    Volkskrant
  • 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 debut 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.

    Last season he 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.

    Recent engagements include The Speaker Die Zauberflöte for the Royal Opera House, Notary Intermezzo for Garsington Opera, performances of Bach’s St Matthew Passion 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. 

    Current and future operatic engagements include Lescaut Boulevard Solitude for the Royal Danish Opera, Ferryman Curlew River for Opéra de Dijon, and Count Almaviva Le Nozze di Figaro for Longborough Opera.

    Benjamin’s extensive concert work includes performances of Bach’s St John Passion with the Hanover Band and a tour of Handel’s Messiah with Bach Collegium Japan under Masaaki Suzuki.

    • 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, bachtrack.com
      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, theartsdesk.com
      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, seenandheardinternational.com
      Benjamin Bevan...turned in a performance of notable stature.
      Curtis Rogers, classicalsource.com
      As the Count, Benjamin Bevan reveals excellent tone and at his best asserts his baritone very powerfully.
      Sam Smith, musicomh.com
      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
    • Handel Messiah
      Wrocław Baroque Orchestra, Göttingen International Handel Festival (May 2016)

      The soloists, too, contributed wonderfully to the proceedings…not least baritone Benjamin Bevan, who delivered with bravura the aria “Why do the nations so furiously rage together”, one of the many hits. Roaring applause for all involved.
      Georg Pepl, Hessiche Niedersächsische Allgemeine
      The highlight of the evening were the soloists…Benjamin Bevan completed the quartet of soloists masterfully.
      Maria Widemann, Kulturbüro Göttingen
      Baritone Benjamin Bevan has a beautiful voice... Long applause for a moving, expressively performed oratorio.
      Michael Schäfer, Goettinger Tageblatt
    • 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, bachtrack.com
      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.
      Musicologie.org
    • 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, planethugill.com
    • 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, classicalsource.com
      Sarastro presented gravitas leavened by humanity, as did Benjamin Bevan’s Speaker.
      Mark Berry, seenandheardinternational.com
      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, bachtrack.com
      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
    • Gloriana
      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.
      Volkskrant
      Beautiful choir of the Reisopera...powerful orchestra…and the excellent voice of…Pilatus (Benjamin Bevan).
      Gaykrant
    • 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
    • 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
  • Benjamin Bevan’s Opera Repertoire

    ADÉS
    • The Tempest (Prospero)
    ARGENTO
    • Aspern Papers (Barelli)
    BEETHOVEN
    • Fidelio (First Prisoner)
    BELLINI
    • I Puritani (Riccardo)
    BERG
    • Lulu (Animal Tamer, Acrobat)
    • Wozzeck (Wozzeck)
    BERLIOZ
    • Béatrice et Bénédict (Claudio)
    • Damnation de Faust (Mephistophiles)
    BIZET
    • Carmen (Morales)
    BRITTEN
    • Albert Herring (Mr. Gedge, Sid)
    • Billy Budd (Donald, Billy Budd)
    • The Rape of Lucretia (Tarquinius)
    CAVALLI
    • La Calisto (Mercurio)
    • Orion (Filotero)
    CHAUSSON
    • Le Roi Arthus (Arthus)
    DEBUSSY
    • Pelleas et Melisande (Pelleas)
    DONIZETTI
    • Don Sebastiano (Don Sebastiano)
    • L'elisir d'amore (Belcore)
    GIORDANO
    • Andrea Chénier (Fouquier Tinville, Pietro Fléville)
    GLÜCK
    • Armide (Ubalde)
    • Iphigénie en Tauride (Oreste)
    GOUNOD
    • Faust (Wagner, Valentin)
    HUMPERDINK
    • Hansel & Gretel (Peter)
    LEONCAVALLO
    • Pagliacci (Silvio, Tonio)
    MACMILLAN
    • Ines de Castro (Pacheco)
    MASCAGNI
    • L’Amico Fritz (Hanezò)
    • Cavalleria Rusticana (Alfio)
    MASSENET
    • Manon (Lescaut)
    MONTEVERDI
    • La favola d'Orfeo (Orfeo)
    MOZART
    • Cosi fan Tutte (Guglielmo, Alfonso)
    • Die Zauberflote (Papageno, Sprecher)
    • Don Giovanni (Don Giovanni)
    • Le nozze di Figaro (Count Almaviva)
    POULENC
    • Dialogue des Carmelites (Marquis de la Force)
    • Les Mamelles des Tiresias (Gendarme, Directeur)
    PROKOFIEV
    • War & Peace (Prince Andrei Bolkonsky)
    PUCCINI
    • La boheme (Marcello, Schaunard)
    • Madame Butterfly (Sharpless)
    • Tosca (Scarpia)
    • Turandot (Ping)
    PURCELL
    • Dido & Aeneas (Aeneas)
    • King Arthur (All Baritone Roles)
    • Fairy Queen (All Baritone Roles)
    ROSSINI
    • Il Barbiere di Siviglia (Fiorello, Figaro)
    • La Cenerentola (Dandini)
    SCHUMANN
    • Szenen aus Goethes Faust (Dr. Faust, Marianus)
    STRAUSS II, J.
    • Die Fledermaus (Falke)
    STRAUSS, R.
    • Capriccio (Olivier)
    STRAVINSKY
    • The Rakes Progress (Nick Shadow)
    TCHAIKOVSKY
    • The Queen of Spades (Yeletsky)
    • Eugene Onegin (Eugene Onegin)
    THOMAS
    • Hamlet (Hamlet)
    VERDI
    • Aida (King)
    • Ballo in Maschera (Silvio, Renato)
    • Don Carlo (Rodrigo, Marquis de Posa)
    • Falstaff (Ford)
    • Macbeth (Macbeth)
    • Otello (Montano)
    • La traviata (Giorgio Germont)
    WAGNER
    • Die Meistersinger von Nuernberg (Nightwatchman)
    • Tannhäuser (Wolfram von Eschenbach)
    • Tristan und Isolde (Steersman)

    Benjamin Bevan’s Concert Repertoire

    BACH
    • Mattheus Passion
    • Johannes Passion
    • Mass in B Minor
    • Magnificat
    • 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)
    BEETHOVEN
    • Mass in C
    BRAHMS
    • Requiem
    BERLIOZ
    • Faust
    DURUFLÉ
    • Messe cum Jubilo
    • Requiem
    DVORAK
    • Mass in D
    ELGAR
    • The Dream of Gerontius
    • The Apostles
    FAURÉ
    • Requiem
    GOUNOD
    • Messe de Ste Cecile
    HANDEL
    • Messiah
    • Coronation Anthems
    • Sampson
    • Israel in Egypt
    • Jepthe
    • Saul
    • Judas Maccabaeus
    HAYDN
    • Nelson Mass
    • Harmonia Mass
    • Saint Nicholas Mass
    • Creation Mass
    MENDELSSOHN
    • Lauda Sion
    • Elijah
    MOZART
    • Requiem
    • Mass in D
    • C Minor mass
    • Coronation mass
    PURCELL
    • King Arthur
    • Ode to St Cecelia
    • O sing unto the lord
    • Fairie Queen
    • Indian Queen
    SCHUBERT
    • Mass in G
    • Mass in B flat
    TIPPETT
    • A Child of Our Time
    WALTON
    • Belshazzar's Feast
  • Photos