Joshua Bloom

Bass

"The vocal splendor of Joshua Bloom’s Leporello…"

Independent

"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."

Opera

"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 numerous companies worldwide, including Opera Australia, San Francisco Opera, LA Opera, Santa Fe Opera, Wiener Staatsoper, New York's Metropolitan Opera, Washington National Opera, English National Opera, Badisches Staatstheater, Opera Northern Ireland and Garsington Opera.

Bloom’s 2017/18 season includes house debuts with Oper Köln, Opera Colorado and Israeli Opera, and role debuts as Bottom A Midsummer Night's Dream (English National Opera and Israeli Opera), Faraone in Rossini's virtuosic Mosè in Egitto and Kaspar Der Freischütz. He will also be returning to work with the Britten Sinfonia in Gerald Barry's The Conquest of Ireland at the Barbican. Bloom will work with renowned conductors including Thomas Adès, Daniel Cohen, David Parry, Ari Pelto and Alexander Soddy and directors including Lotte de Beer, Robert Carsen and Matthew Ozawa.

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Le Nozze di Figaro, Garsington Opera, cond. Douglas Boyd

June 2017

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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