"Pablo Bemsch was a poetic Faust, his vocal line clean and buoyant, his use of the text impeccable: this was old-school singing in a very positive sense."
"The cast was strong. The great performance came from Pablo Bemsch as Faust, effortlessly voiced, the mix of sensuality and moral agony superbly conveyed."
Argentine tenor Pablo Bemsch is a former member of the International Opera Studio at the Opernhaus Zurich and the Jette Parker Young Artist at the Royal Opera House, Covent Garden. His roles at Covent Garden have included Cassio Otello (Placido Domingo Gala); Moser Die Meistersinger von Nurnberg; Borsa Rigoletto, Count Lerma Don Carlo, Mozart Mozart and Salieri, Tiberge in Massenet’s Le Portrait de Manon.
In the 2019-20 season he makes his role debut as Ladislao in Rossini’s Sigismondo (Opera Rara Festival with Capella Cracoviensis). Highlights of the 2018-19 season included concert performances as Ozia in Mozart’s Betulia liberata with Les Talens Lyriques at the Seine Musicale, Paris and at the Salzburg Mozartwoche; Faust Mefistofele (Chelsea Opera Group).
Recent performances have included Ferrando Cosi fan tutte and Cassio Otello (Teatro Argentina de la Plata); Rinuccio Gianni Schicchi (Opera de Las Palmas); Tito La clemenza di Tito and Fernando La Favorita (Teatro San Martin, Tucuman); Edgardo Lucia di Lammermoor, Manrico Il trovatore and Alfredo La traviata (Winslow Hall Opera; Rodolfo La boheme (Nevill Holt Opera); Rodolfo La boheme (Opera Theatre Company Dublin); Cassio Otello (Halle Orchestra cond. Sir Mark Elder); Alfred Die Fledermaus (Philharmonia Orchestra) and Verdi Requiem (Orchestra of the Royal Opera House). He has worked with conductors including John Eliot Gardiner, Antonio Pappano, Daniel Oren, Marco Armiliato and Massimo Zanetti.
This biography is for information only and should not be reproduced.
Chelsea Opera Group, March 2019
Pablo Bemsch proved an equally impressive Faust. The Argentinian tenor has a lovely sweet sound, fresh and honest, one that is well-supported and consistent. The role is a long sing and Bemsch had the necessary stamina ... this was a Faust with whom one could readily empathise. Bemsch communicated Faust’s ardour, yearning and obsessive curiosity, but also his dignity, and there was a strong sense of the passing of time and his growing distress in old age. This was a contemplative, at times introspective Faust, and Bemsch made his reveries ‘real’, particularly in ‘Giunto sul passo estremo’ when the older Faust’s dreams of universal serenity pulsed with elation.
Claire Seymour, Opera Today
Pablo Bemsch was a poetic Faust, his vocal line clean and buoyant, his use of the text impeccable: this was old-school singing in a very positive sense.
Yehuda Shapiro, Opera Magazine, June 2019
Faust was taken by Argentine tenor Pablo Bemsch, His strength of delivery, ever ardent, reflects his past roles such as Alfredo in La traviata. His aria while dying (‘Giunto sul passo estremo’) was beautifully touching...
Colin Clark, Seen and Heard International
Argentinian tenor Pablo Bemsch had the ardour and the notes to make Faust the quintessential lost soul in search of meaning...
Nick Kimberley, Evening Standard
The cast was strong. The great performance came from Pablo Bemsch as Faust, effortlessly voiced, the mix of sensuality and moral agony superbly conveyed.
Tim Ashley, The Guardian
His singing was super – glorious full-throttle Italianate tone and style throughout this taxing role.
Alexander Campbell, Classical Source
Manrico, Il trovatore
Winslow Hall Opera, June 2018
… the firm resilient core that Pablo Bemsch retained in Manrico’s heroic outbursts bore witness to new muscle in his voice, though he can still summon troubadour lyricism.
Yehuda Shapiro, Opera magazine, September 2018
Rodolfo La boheme
Opera Theatre Company, Dublin, May 2016
She had an excellent quartet of Bohemians to support her: the Argentinian tenor Pablo Bemsch was an ardent and musical Rodolfo...
Ian Fox, Opera magazine, September 2016
The leads are strongly taken: Máire Flavin is a multifaceted Mimi and Pablo Bemsch a heroic-sounding Rodolfo.
Michael Dervan, The Irish Times, 18 May 2016
Alfredo, La traviata
Winslow Hall Opera, June 2015
The appealing air of gentle melancholy that characterises Bemsch’s tone and presence did not preclude him from rising to the challenge of the public denunciation in Act 2…
Yehuda Shapiro, Opera magazine, September 2015