2017 is an exciting year for baritone Benjamin Bevan. Following his debut in the USA with The Colorado Symphony he will travel to Japan to make his first recording with Masaaki Suzuki and the Bach Collegium Japan as they venture into the world of Beethoven. Benjamin will also make his debut in Italy with the ground breaking 18th Century music specialists Collegio Ghislieri in Pavia. In the UK he will work with The BBC Philharmonic for the first time.

Benjamin Bevan won a scholarship to study at the Guildhall School, London and made his international début at Lausanne Opera in La Cenerentola.

Benjamin made his debut at The Royal Opera House, Covent Garden singing Henry Cuffe in Gloriana by Benjamin Britten and returned to sing Die Sprecher in Die Zauberflöte. He made his debut at The Royal Danish Opera as Lescaut in Boulevard Solitude by Henze, a role he also sang at Welsh National Opera as well as the title role of Roderick in Usher House by Gordon Getty. In 2016 he sangFerrymanCurlew River for Opéra de Dijon.  At Scottish Opera Benjamin sang  MarcelloLa Bohème , Fleville and Fouquier-Tinville in Andrea Chenier under Sir Richard Armstrong, RiccardoI Puritani,  Lescaut in Massenet’s Manon and Marcello in  La Bohème. He sang Il Conte in Le Nozze di Figaro in the critically acclaimed production at the 2016 Longborough Festival. 

On the concert platform, Benjamin has recently made his debut at Internationale Händel-Festspiele Göttingen with Wroclaw Baroque and in Norway with The Stavanger Symphony Orchestra under John Butt. He performs regularly with Bach Collegium Japan whilst other engagements have includedperformances of Bach’s St Matthew Passion and Handel’s Messiah with the Royal Northern Sinfonia under Paul McCreesh and Thomas Zehetmair , Bach’s B Minor Mass at The Three Choir’s Festival. and a performance of Bach’s Cantata BWV 206 at St John’s, Smith Square in London to mark the 70th anniversary of the London Bach Society.

Some recent reviews:

Longborough Festival Opera, Le Nozze di Figaro
Longborough (June 2016)

Baritone Benjamin Bevan gave us an Almaviva who really was an aristocrat; burly and bored, he roamed and lounged while deploying a voice that is unusually soft and supple. Lacking a grain to it, the lyrical quality of the voice was ideally suited to the Count’s moments of seduction, but Bevan summoned up plenty of thunder and bluster, particularly in the Countess’ bedroom in Act II, and his "Hai gia vinta la causa... Vedro mentr'io sospiro" was a highlight of the evening.

Dominic Lowe, bachtrack.com

Benjamin Bevan is a forthright, bullish, shotgun-toting Almaviva, slow moving like a highland stalker, but superbly aggressive in his Act 3 aria.

Stephen Walsh, theartsdesk.com

Once again Longborough Opera has assembled a cast of excellent singers who assume the character of the roles they play to perfection. Benjamin Bevan is a brute of an aristocrat consumed with lust rather than love, who manages to inspire our loathing almost to the end when he receives his comeuppance. But what a voice he has!

Roger Jones, seenandheardinternational.com

Benjamin Bevan...turned in a performance of notable stature.

Curtis Rogers, classicalsource.com

As the Count, Benjamin Bevan reveals excellent tone and at his best asserts his baritone very powerfully.

Sam Smith, musicomh.com

Benjamin Bevan is convincing in his role as the cunning but much-thwarted Count Almaviva.

Gill Sutherland, Stratford-upon-Avon Herald

  • ​Walton Belshazzar’s Feast
    St John the Evangelist, Bath (June 2016)

    Here the intense musical drama unfolded in huge waves of gorgeous sound, interspersed with narrative powerfully sung by Benjamin Bevan.
    Dan Biganne, Bath Chronicle
  • Handel Messiah
    Wrocław Baroque Orchestra, Göttingen International Handel Festival (May 2016)

    The soloists, too, contributed wonderfully to the proceedings…not least baritone Benjamin Bevan, who delivered with bravura the aria “Why do the nations so furiously rage together”, one of the many hits. Roaring applause for all involved.
    Georg Pepl, Hessiche Niedersächsische Allgemeine
    The highlight of the evening were the soloists…Benjamin Bevan completed the quartet of soloists masterfully.
    Maria Widemann, Kulturbüro Göttingen
    Baritone Benjamin Bevan has a beautiful voice... Long applause for a moving, expressively performed oratorio.
    Michael Schäfer, Goettinger Tageblatt
  • Britten Curlew River (Ferryman)
    Opéra de Dijon, Grand Théâtre, Dijon (April 2016)

    Baritone Benjamin Bevan convincingly expressed the gruff kindness that characterizes the Ferryman.
    Jean-Marc Piriou, bachtrack.com
    The character development of the Ferryman interpreted with a martial tone by Benjamin Bevan is subtly delivered: a sly man, willingly derisive or profiteer, he shows compassion for the Madwoman on learning of her past.
    Damien Dutilleul, Olyrix
    The Ferryman is sung by Benjamin Bevan, a magnificent baritone who has also performed several other roles by Britten. With a natural authority and an imposing figure, he is a singer with a resonant voice, well-balanced and with a permanent intelligibility.
    Yvan Beuvard, Forum Opera
    The character of the Ferryman, powerful and authoritative, is sung by Benjamin Bevan, a remarkable baritone with a sonorous, well-balanced voice whose articulation is exemplary.
    Musicologie.org
  • Boulevard Solitude, Royal Danish Opera
    The Royal Danish Opera House, Copenhagen (October 2015)

    Her brother, Lescaut, who baritone Benjamin Bevan sings with swirling beauty and clout, is involved throughout the entire performance.
    Christine Christiansen, Jyllands-Posten
    As Manon’s brother, the baritone Benjamin Bevan seems incapable of behaving with any sense of love or care, but does a sterling job in tackling the impossible vocal leaps, which require quick-fire delivery.
    Thomas Michelsen, Politiken
    Similarly, baritone Benjamin Bevan makes Manon’s brother spiteful in just the right way; one senses what is at stake for him with Manon and her attraction for rich men, his golden calf, without whom he would have to scrape through life.
    Jakob Wivel, Børsen
  • Handel in Italy Vol I, Signum Classics
    London Early Opera

    Baritone Benjamin offers a fine cantata.
    Nicholas Kenyon, The Observer
    The cantata 'Cuopre tal volta il cielo' is sung with comparable engagement by Benjamin [Bevan], an attractive lyric baritone who relishes Handel’s storm of thunderclaps and terror.
    Mark Valencia, Sinfini Music
    Benjamin Bevan throws off the work’s vocal gymnastics with much aplomb.
    Alastair Harper, Early Music Review
    Finely performed by Benjamin Bevan.
    Robert Hugill, planethugill.com
  • Garsington Opera, Intermezzo
    Garsington (June 2015)

    The rest of the largely young cast is also superb, with Benjamin Bevan’s bumbling Notary particularly worthy of praise.
    Hugo Shirley, Financial Times
    She’s flanked by a mostly strong cast...Benjamin Bevan’s lawyer [is] excellently shambolic.
    Neil Fisher, The Times
  • Royal Opera House, Die Zauberflöte
    Covent Garden, London (February 2015)

    Smaller roles go well, too, especially...Benjamin Bevan’s grandly articulate Speaker.
    George Hall, The Guardian
    He had good back-up in Benjamin Bevan’s expansive Speaker – his short scene with Tamino and the orrery was one of the evening’s visual coups.
    Peter Reed, classicalsource.com
    Sarastro presented gravitas leavened by humanity, as did Benjamin Bevan’s Speaker.
    Mark Berry, seenandheardinternational.com
    Benjamin Bevan was an unusually youthful Speaker, but he gave the role the required grandeur and authority.
    Melanie Eskenazi, Music OMH
  • Royal Northern Sinfonia, Messiah
    The Sage Gateshead (December 2014)

    The other big duet is “The trumpet shall sound” and Richard Martin, standing out at the front with baritone Benjamin Bevan made his trumpet truly sing. Sometimes I find this aria goes on a bit, but the musical partnership here was so enjoyable that I gave a little inner cheer when I realised they were doing the full da capo version.
    Jane Shuttleworth, bachtrack.com
    Each soloist – soprano Juliet Bauer, countertenor James Laing, vigorous tenor Samuel Boden and robust bass Ben Bevan – was given a moment to shine by the composer.
    Rob Barnes, The Journal
  • Usher House
    Welsh National Opera (June 2014)

    Benjamin Bevan is excellent [as Roderick Usher].
    Rupert Christiansen, The Daily Telegraph
    A fine performance from Benjamin Bevan.
    Anna Picard, The Times
    The baritone Benjamin Bevan's account of Roderick Usher is excellent.
    Paul Driver, The Sunday Times
    Baritone Benjamin Bevan as Roderick Usher, sustain[s] convincingly the conversational arioso style that makes up so much of the piece.
    Peter Reynolds, Opera Now
  •