Italian concert tour with the Orchestra dell’Accademia Teatro alla Scala

Mr. Bernheim will tour Italy with the Orchestra dell’Accademia Teatro alla Scala this summer, performing in four concerts. The tour begins on July 11 in Varese, and then continues on to Como (July 13), Pavia (July 14), and ends in Cremona (July 15). At each venue, Mr. Bernheim will sing a programme of opera arias, including “Pourquoi me réveiller” from Werther, “Che gelida manina” from La bohème, and “De’ miei bollenti spiriti” from La traviata. Conducted by Lorenzo Viotti, the program will also include Tchaikovsky’s Symphony No. 4 in F minor. This concert tour concludes Mr. Bernheim’s 2016/2017 season, and his next season begins at the Deutsche Oper Berlin, where he will sing Alfredo in Verdi’s La traviata opening August 30.  Ticket information for these concerts to follow shortly.

2017/2018 Season Highlights

Benjamin Bernheim’s 2017-2018 season begins in London, where he sings Rodolfo in Puccini’s La bohème at the Royal Opera House. Simona Mihai joins as Mimì, in a new production by Richard Jones. He reprises the role at the Opéra National de Paris, with six performances over the holiday season. He begins the new year in Bordeaux, where he sings a solo recital with pianist Jean-Marc Fontana on the main stage at the Opéra National Bordeaux. He continues on with debuts, as Nemorino in Donezetti’s L’elisir d’amore at the Wiener Staatsoper in February is followed by a new staging of Faust at Lyric Opera of Chicago. Mr. Bernheim then returns to France, where he sings in two concerts in Paris. The first is with Olga Peretyatko at the Philharmonie de Paris, and is a program of arias and duets, and the second is an Hommage à Gounod with the Orchestre National de France. His season finishes at the Opernhaus Zürich, where he sings Alfredo in Verdi’s La Traviata. 

Role and house debut as Faust at Latvian National Opera

On  June 8 & 17, Benjamin Bernheim will debut in the title role of Gounod’s Faust in his first-ever engagement at the Latvian National Opera. Marina Rebeka sings Marguerite and bass Andreas Bauer is Méphistophélès, in performances conducted by Tadeusz Wojciechowski. Directed by Aik Karapetian, the production’s creative team includes costume designer Kristīne Pasternaka, set designer Kristaps Skulte, and lighting by A.J. Weissbard.

Mr. Bernheim will return to the role in a new production next season, in his house debut at Lyric Opera of Chicago from March 3 – 21, 2018.

‘La bohème’ at the Opernhaus Zürich

Benjamin Bernheim reprises his acclaimed portrayal of Rodolfo in Puccini’s La bohème this spring at Opernhaus Zürich. He sings the role on April 15, 19, 22 & 29 and May 6 & 10, with Eleonora Buratto as Mimì, Andrei Bondarenko as Marcello, and Elsa Dreisig is Musetta. Giampaolo Bisanti leads from the pit for all performances. The production, directed by Ole Anders Tandberg, features stage designs by Erlend Birkeland and costumes designed by Maria Geber.

Benjamin Bernheim sings Cassio in Verdi’s ‘Otello’ at Opernhaus Zürich

This March, Benjamin Bernheim returns to the Opernhaus Zürich stage to sing Cassio in Verdi’s Otello. The performances take place on March 8, 12, 16, 19 & 23, with a cast that also features Aleksandrs Antonenko in the title role, Maria Agresta as Desdemona, and Zeljko Lucic as Jago. Maestro Marco Armiliato leads from the pit for this production, which features a staging by Graham Vick.

Thomas’ ‘Hamlet’ at Opéra de Lausanne

On February 5, 8, 10 & 12, Benjamin Bernheim sings the role of Laërte in Ambroise Thomas’ Hamlet at Opéra de Lausanne. Vincent Boussard directs the staging, a co-production with Opéra National du Rhin and Opéra de Marseille, with a cast that also includes Régis Mengus as Hamlet, Lisette Oropesa as Ophélie,
Stella Grigorian sings Gertrude, and Philippe Rouillon is Claudius. Fabien Gabel leads the Orchestre de Chambre de Lausanne for these performances.

Berlioz’ ‘Te Deum’ at the Philharmonie de Paris

Benjamin Bernheim is the featured tenor soloist in Berlioz’ Te Deum on January 21 at the Philharmonie de Paris, with Bertrand de Billy and the Orchestre de Paris. The performance is part of the multi-concert celebration of the Choeur de l’Orchestre de Paris’ 40th Anniversary, with a programme that also includes Henri Dutilleux’ Symphonie n°2 “Le Double” and Philippe Hersant’s La lumière et l’ombre, commissioned by the Orchestra. Tickets and additional information are available at the following link.

Benjamin Bernheim is “sublime” in role debut as Lensky in ‘Eugene Onegin’

“… the triumph of Benjamin Bernheim at the Deutsche Oper Berlin … a whirlwind provoked by the appearance of Benjamin Bernheim. A great winner of the applause, the Franco-Swiss tenor suspends time from the first aria of Lensky. The voice is of sublime warmth, a consistency of the timbre without faults, but it is even more in crafting the character that Bernheim dazzles: away from the lusty and violent boorishness, Lensky appears here as the great romantic hero of the opera, culminating in the aria “Kuda, kuda,” overwhelming with his modesty and dignity.”

Puccini’s ‘Manon Lescaut’ – new album release from the Salzburg Festival

Benjamin Bernheim’s “mellifluous” (Bachtrack) portrayal of Edmondo in Puccini’s Manon Lescaut can now be enjoyed on a 2-CD album release on the Deutsche Grammophon label, captured at the 2016 Salzburg Festival. Anna Netrebko stars in the title role, with Yusif Eyvazov as Des Grieux, Carlos Chausson as Geronte, and Armando Piña as Lescaut. Marco Armiliato leads the Bavarian Radio Symphony Orchestra on this recording, which is now available for purchase via Amazon and iTunes.

‘La bohème’ at the Semperoper Dresden

Benjamin Bernheim sings Rodolfo in Puccini’s La bohème, this winter at the Semperoper Dresden. Performances take place December 5 & January 15, and also feature Maija Kovalevska as Mimì, Emily Dorn as Musetta, and Markus Butter sings Marcello. Giampaolo Bisanti leads the Staatskapelle Dresden for these dates, with a production originally staged by Christine Mielitz.

“I always marvel at his rich column of sound, even from top to bottom . . . through “Che gelida manina,” his high notes soared.” (Seen and Heard International)

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