Joshua Bloom


"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)."

Financial Times

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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.

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Richard Ayres's The Garden

London Sinfonietta, Queen Elizabeth Hall, April 2019

It was superbly performed, with the solo bass Joshua Bloom playing all the roles with virtuoso flair (and sometimes using a vocoder to change the timbre of his voice)

Andrew Clements, The Guardian, 18 April 2019

As sung, spoken and emoted by the versatile bass Joshua Bloom

Richard Morrison, The Times, 18 April 2019

Leporello in Don Giovanni

Palm Beach Opera, February 2019

Andrei Bondarenko and Joshua Bloom as respectively the Don and his servant make a memorable pair, jousting with each other as well as with the other characters. Leporello’s ‘Catalogue’ aria is terrifically staged and sung, Bloom’s huge, deep voice combining with superb comic timing as he hands one folder after another to the astonished Donna Elvira.

David M Rice, Classical Source, 22 February 2019​

Towering physically and vocally over the others was Joshua Bloom’s imposing performance of Giovanni’s sidekick and alter ego, Leporello. Bloom’s glorious bass sound and strong stage presence made the famous “Catalogue” aria (an enumeration of Giovanni’s conquests, here accomplished with a typewriter) a highlight early on.

Robert Croan, Palm Beach Daily News, 23 February 2019

Stravinsky's Threni

London Philharmonic Orchestra, Royal Festival Hall, December 2018, cond. Vladimir Jurowski

Among the soloists, tenor Sam Furness and bass Joshua Bloom stood out in their long, unaccompanied exchange at the work’s centre... Terrific stuff, wonderfully well done.

Tim Ashley, The Guardian, 9 December 2018

Excellent soloists too, and if I pick out tenor Sam Furness and bass Joshua Bloom for special praise, that is only for the quantity of their solo work in a uniformly fine line-up.

Gavin Dixon, The Arts Desk, 10 December 2018

Title role in Le Nozze di Figaro

Garsington Opera, June 2017, 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

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