"The vocal splendor of Joshua Bloom’s Leporello…"
"The real stage animal on this occasion was Joshua Bloom, dashing and larger than life, who sang a rip-roaring ‘I am a Pirate King’ and boomed through his dialogue."
"Rattle didn’t disappoint either, provoking passionate performances from his orchestra and excellent soloists: in particular… Joshua Bloom (Daedalus)."
Australian/American bass Joshua Bloom has sung principal roles with major houses including Opera Australia, San Francisco Opera, LA Opera, Santa Fe Opera, Wiener Staatsoper, New York’s Metropolitan Opera, Washington National Opera, English National Opera, Oper Köln, Badisches Staatstheater, Opera Northern Ireland, Israeli Opera and Garsington Opera.
Bloom’s 2018-19 season includes role debuts in the title role of Bartok’s Bluebeard’s Castle, Méphistophélès in Berlioz’ Le Damnation de Faust, Oroveso Norma, and Kecal The Bartered Bride. He will also return to the role of Leporello Don Giovanni. His season opens with a world premiere of Richard Ayres The Garden, with the Asko Schönberg Ensemble. The piece is an opera for solo bass and electronics that was written for Joshua and receives its London premiere in 2019 with the London Sinfonietta. 2018/19 sees Bloom working with conductors including Edward Gardner, André de Ridder, Jan van Steen and David Stern. He will make debuts with the City of Birmingham Symphony and Philharmonia Orchestras, and Palm Beach Opera. He will make his house debut at the Royal Opera House, Covent Garden in 2020.
This biography is for information only and should not be reproduced.
Le Nozze di Figaro, Garsington Opera, cond. Douglas Boyd
Joshua Bloom’s Figaro is equally definitive; he’s just lovable enough, just daft enough, to make you sympathize with his character, and his singing is first rate – angrily blustering without losing the line in ‘Se vuol ballare’ and ‘Aprite un po’ quegli occhi’ and mellifluous in ensemble
Melanie Eskenazi, Music OMH
I have never known a Figaro like Joshua Bloom’s – a gale-force character with a thunderous sound
Michael Church, The Independent
...a wonderfully controlled and methodically crafted Figaro, his huge vocal capacity never once overwhelming his musical intellect. When challenging the Count’s proprietorial assumptions, Bloom’s voice was indignantly resonant; but when, in Act 4, Figaro believed himself duped and betrayed, Figaro was endowed with a credible vulnerability, which tempered Bloom’s sturdy baritone. Bloom has presence, panache and vocal power: a winning triplet
Claire Seymour, Opera Today