Ben McAteer


"Outstanding among a consistently fine ensemble [is] Ben McAteer as Dostoyevsky's representative, the resilient aristocrat, Goryanchikov"

Financial Times

"As Tolloller and Mountararat, Ben Johnson and Ben McAteer were irresistible – their vowels decliciously Victorian-aristocrat, their acting only just over the top…"

Opera Magazine

"Ben McAteer presents an intriguing figure, smoothly-sung, decisive yet distracted, a reading of the role that is disarmingly naturalistic."

Goldenplec Music News

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Northern Irish baritone Ben McAteer’s current highlights include Pangloss Candide with Marin Alsop in a new production by Lydia Steier at Theater an der Wien, and with the Hamburger Symphoniker and Martin Yates. He previously performed the role in the work’s Chinese premiere with the Xi’an Symphony Orchestra and Dane Lam. He returns to Hamburg for Schumann’s Das Paradies und die Peri.

He revives his acclaimed Mountararat Iolanthe for ENO. A natural performer of Gilbert & Sullivan, he recently also appeared as Grand Inquisitor The Gondoliers and King Paramount Utopia Limited for Scottish Opera and for the International Gilbert and Sullivan Festival.

Ben made his Wexford Festival Opera debut in 2022 as Baskir Lalla Roukh for Wexford Festival Opera and returned to Irish National Opera as Malatesta in Don Pasquale and Officer Two & Blazes in Peter Maxwell-Davies’ The Lighthouse.

Recent concert work includes Haydn’s Creation with the Ulster Orchestra and Daniele Rustioni and Brahms’ German Requiem with the National Symphony Orchestra of Ireland.

Versatile in character and with a remarkable vocal range, he has sung both Figaro (Scottish Opera) and Count Almaviva (Irish National Opera) Le nozze di Figaro, Falke (Welsh National Opera) and Eisenstein (Northern Ireland Opera) Die Fledermaus, Pish-Tush (Scottish Opera) and Pooh-Bah (Lyric Opera Ireland) The Mikado, as well as Frank-Fritz Die tote Stadt (RTÉ National Symphony Orchestra), Goryanchikov From the House of the Dead (WNO), Sharpless Madama Butterfly (Opera Holland Park), Father Hänsel und Gretel (INO), Papageno Magic Flute (NI Opera), and Guglielmo Così fan tutte (Scottish Opera).

He features on a disc of undiscovered songs by Irish composer Ina Boyle with Iain Burnside, released on Delphian Records in August 2021, and has recorded the role of Jesus in Arthur Sullivan’s oratorio The Light of the World and Rupert Vernon in his operetta Haddon Hall, both with the BBC Concert Orchestra.

Ben was an Emerging Artist at Scottish Opera (during which time he won Outstanding Performance in Opera at the My Theatre Awards in Toronto for his performance of James in the world première of The Devil Inside), and trained at the National Opera Studio in London and at the Guildhall School of Music & Drama. Before embarking on a musical career, he studied Chemistry at the University of St Andrews.

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Haydn The Creation, Ulster Orchestra

Ulster Hall (April 2023)

Ben McAteer, who sounded rich and savoury and heroic and who basically stole the show by leaning into the guileless comedy of Haydn’s musical depictions of birds and beasts: bleating like a sheep and hollowing out his voice, poker-faced, for that most collectible of lines, ‘In long dimension / Creeps with sinuous trace the worm’. Performances of The Creation tend, by their nature, to be cheerful occasions, but this is the first time I’ve witnessed an audience laughing out loud, or indeed rising to their feet for what looked like a wholly unpremeditated ovation.

Richard Bratby, The Spectator

Don Pasquale (Malatesta), Irish National Opera

(November 2022)

[Masterson] and Danby are ideally complemented – both vocally and in dramatic energy and comic timing – by baritone Ben McAteer as Pasquale’s friend Malatesta (the plastic surgeon)

Michael Dungan, The Irish Times

Ben McAteer as a Malatesta sounding more handsome of voice than the pre-show caution of his ailing state suggested: just perfect, in fact.

David Nice, The Arts Desk****

Ben McAteer summons gravitas as Dr Malatesta

Katy Hayes, Irish Independent

“McActeer’s fine visual portrayal of Malatesta” [whilst walking the part]

Ian Fox, Opera Magazine

Strong work all round from the… bullish Malatesta (Ben McAteer)

Robert Thicknesse, Opera Now

Lalla Roukh (Baskir)

Wexford National Opera (October 2022)

The Irish baritone balanced buffo banter – the patter ever clear – with vocal finesse, in a strongly characterised performance.

Claire Seymour, Opera Today

Ben McAteer, from Northern Ireland and making his Wexford debut, was Baskir, who has never seen the king (essential to plot plausibility so he can spend the opera ignorantly frustrating his boss). He is a dupe made sympathetic by a fine voice… His sparring with Mirza was entertaining, vocally and histrionically… This season is labelled “Magic and Music” and what casting Wexford can often conjure up.

Roy Westbrook, Bachtrack****

Ben McAteer’s natural charisma and histrionic know-how meant his Baskir almost stole the show

Hugh Canning, Opera Magazine

…baritone Ben McAteer capering in the chief comic role of court official Baskir

George Hall, The Stage*****

Ben McAteer as Baskir is responsible for the funny moments. He has a hard time keeping the princess away from the poet and scores with a wonderful buffo-baritone. In interaction with O'Sullivan, McAteer also convinces with humorous play when he succumbs to the maid's attempts to flirt and thus allows himself to be distracted so that Lalla-Roukh can meet her Nourreddin again. Another highlight is the duet with Nourreddin in the second act, in which he tries to trick the king without realizing that he is talking to the king himself. When he subsequently fears for his life because Nourreddin and Lalla-Roukh have tricked him, he expresses this in a brilliant couplet, in which he is literally thrown across the stage by the dancers in the shopping cart like on a ship in a storm.

Thomas Molke, Online Musik Magazin

Utopia Ltd (King Paramount), National Gilbert & Sullivan Opera Company

(September 2022)

The singing was splendid, too. McAteer …who’d sounded positively Wagnerian as he announced his resolve to turn his kingdom into a limited liability company at the end of Act One, was an imposing and intensely sympathetic figure

Richard Bratby, The Arts Desk****

The usual G&S material was all present, nonsense and wit balanced with lyrical tunes and compelling ensembles. The cast captured it all with enthusiasm, with hats in the first act differentiating the suited men. Ben McAteer was suavely confident as King Paramount

David Smythe, Bachtrack****

Ben McAteer’s portrayal of a rather ineffectual king who turns into an effective one is finely played – in the trio where he eavesdrops on the plotting of Phantis and Scaphio, he conveys decided glee.

Catriona Graham, The Opera Critic

The Gondoliers / Utopia Ltd (Grand Inquisitor / King Paramount), Scottish Opera

Hackney Empire (April 2022)

Ben McAteer makes a fine King Paramount, well-meaning, dithering and longing to be free of his two pushy advisers

Tim Ashley, The Guardian****

Ben McAteer was King Paramount, a tall, genial presence with a sunny baritone, and together with Charlie Drummond as the Girton-educated Princess Zara he set the musical tone at a consistently high level

Richard Bratby, The Spectator

Maxwell-Davies The Lighthouse, Irish National Opera

(December 2021)

The singing of the three roles by Gavan Ring, Ben McAteer and John Molloy was superb.

Noel Megahey, Opera Journal

The Gondoliers / Utopia Ltd (Grand Inquisitor / King Paramount), Scottish Opera

(November 2021)

Ben McAteer upped his artistic profile with a deliciously camp portrayal of the Grand Inquisitor – a mature, stage-filling impersonation that kept within the bounds of taste.

Andrew Clark, Opera Magazine

Ben McAteer’s Grand Inquisitor, a delicious picture of pomposity, gives an outstanding comic performance.

Mark Brown, The National (Scotland)

Outstanding were Ben McAteer’s charmingly easygoing King Paramount…

Ken Walton, The Scotsman****

Though the production maintains a light-heartedness, an ounce of villainy can be sniffed out by Ben McAteer’s Grand Inquisitor, a booming and delicious role. And though not necessarily the most diabolical of Gilbert & Sullivan’s rogues, McAteer devours the scenes, capitalising on every opportunity with his bass-baritone and imposing vocals.

Dominic Corr, The Reviews Hub - Scotland

Ben McAteer was suavely confident as King Paramount

David Smythe, Bachtrack

La bohème (Schaunard), Irish National Opera

(March 2021)

Ben McAteer was an excellent Schaunard...

Opera Magazine

Ben McAteer and John Molloy also acquitted themselves well in their respective roles – there were no weak links in the cast.

Robert Beattie, Sean and Heard International

Recording: 3 English operettas (Sullivan, Ford and Cellier)

BBC Concert Orchestra / Dutton Vocalion (2020)

Ben McAteer’s urbane strikes a better balance” [Haddon Hall] / “…the title roles provide Ben McAteer with well-taken comedy chances.” [Mr Jericho and Captain Billy]

Opera Magazine

​Die Fledermaus (Eisenstein), Northern Ireland Opera

(September 2019)

Ben McAteer was a game Eisenstein…

Robert Thicknesse, Opera Now

Ben McAteer found ample humour in Eisenstein's self-inflicted quandary...

Michael Quinn, Opera Magazine

Opera Repertoire


Candide (Voltaire/Pangloss/Martin)


The Rape of Lucretia (Tarquinius)

Gilbert & Sullivan

HMS Pinafore (Captain Corcoran)
Iolanthe (Earl of Mountararat)
Patience (Colonel Calverley/Grosvenor)
The Grand Duke (Ludwig)
The Mikado (Pish-Tush/Pooh-Bah)
The Pirates of Penzance (Major-General Stanley/Pirate King)
Trial by Jury (The Learned Judge)


Boulevard Solitude (Lescaut)*


Hansel & Gretel (Peter)


From the House of the Dead (Goryanchikov)


Die Tote Stadt (Frank/Fritz)


The Devil Inside (James)


La Navarraise (Remigio)
Le Portrait de Manon (Des Grieux)


Così fan tutte (Guglielmo)
Die Zauberflöte (Papageno)
Le Nozze di Figaro (Count Almaviva/title role)


La Bohème (Marcello)
Madama Butterfly (Sharpless)


Dido & Aeneas (Aeneas)


Our Town (Mr Webb)


Die Fledermaus (Falke)


Eugene Onegin (title role)*


Rigoletto (Marullo)

*role studied/covered

Oratorio / Masses Repertoire

J.S. Bach

Christmas Oratorio
Mass in B Minor
St. John Passion


Symphony No. 9 – “Choral"




A German Requiem


The Apostles (Jesus)

The Dream of Gerontius

The Kingdom (St Peter)




Dixit Dominus
Samson (Manoa/Harapha)


Nelson Mass
Missa in tempore belli






Mass in C Minor


Carmina Burana




The Golden Legend
The Light of the World (Jesus)
The Prodigal Son


Magnificat in G

Orchestral Song / Other Repertoire


The Wound Dresser


Old American Songs




Let Us Garlands Bring


The Wind Among the Reeds


Mass in G


Songs of the Fleet


At Sixes & Sevens

V. Williams

Fantasia on Christmas Carols
Five Mystical Songs
Songs of Travel

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