Critical Acclaim

“Au fond seul le Cassio solaire, si bien projeté de Benjamin Bernheim, constitue une révélation sur ce plateau dont la régie de Vincet Boussard néglige quelque peu les passions.”

{In the end, the luminous Cassio, so well projected by Benjamin Bernheim, was a revelation on this stage that the director Vincent Boussard largely neglected to utilize.}

Benoît Fauchet

Critical Acclaim

Son timbre chaud transmet parfaitement les premiers élans amoureux de Rodolfo. Il tâtonne à la recherche des clés de la couturière mais sa voix reste assurée, sa ligne vocale constamment articulée. Les voix de Benjamin Bernheim et de la soprano Nicole Car se répondent harmonieusement au moment d’O Soave Fanciulla,il en est de même pour tous leurs duos, auxquels le public applaudit chaleureusement. 

Céline Wadoux

Critical Acclaim

Bernheim gave us a glorious Rodolfo.  Right from his opening entry, his bright, well-placed tenor ringing out, it was immediately clear that we were in for something very special indeed.  His isn’t the biggest voice but it carries wonderfully, seemingly floating on air throughout the auditorium.  It is absolutely even from top to bottom – as he sang through ‘che gelida manina’ the voice took wing, drawing those ‘castelli in aria’, opening up in seemingly unlimited, unblemished beauty and rising to a fabulously full and even high C.  He found poetry in the text too – he made the text live, always using it as a starting point for his phrasing and used dynamics intelligently to create a rounded character.  The heartbreak he felt at the close was palpable.  Bernheim is a very major talent.

Opera Traveller

Critical Acclaim

“In all this Gothic horror, the French tenor Benjamin Bernheim as Faust was something of an innocent abroad. But Aik Karapetian had started with a striking touch the older Faust in the first scene was played by a different, older singer (Olegs Orlovs), with Bernheim making his first appearance as the re-juvenate Faust. It was a pleasure to hear a Francophone tenor in the role, even if I had to travel to Latvia for it! Bernheim has a lithe, narrow focussed French-style voice just right for this role. He combined flexibility with focused power. He could produce nice fluid tone for ‘Salut demeure’ …”

Robert Hugill
Planet Hugill

Critical Acclaim

“… le ténor Benjamin Bernheim est splendide de plénitude et de souplesse vocale dans le rôle de Laërte, le frère d’Ophélie.”

{… the tenor Benjamin Bernheim is splendid with fullness and vocal flexibility in the role of Laërte, Ophélie’s brother.}

Julian Sykes
Le Temps

Critical Acclaim

“… 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.”

{… le triomphe de Benjamin Bernheim à la Deutsche Oper de Berlin … la tornade provoquée dès l’apparition de Benjamin Bernheim. Grand vainqueur aux applaudissements, le ténor franco-suisse suspend le temps dès le premier arioso de Lensky. La voix est d’une chaleur sublime, l’homogénéité du timbre sans failles mais c’est plus encore dans la caractérisation du personnage que Bernheim éblouit : loin du rustre veule et violent, Lensky apparaît ici comme le grand héros romantique de l’opéra, culminant dans un air Kuda, kuda, bouleversant de pudeur et de dignité.}

Laurent Vilarem
Opéra Online

Critical Acclaim

“The interest aroused by his first recital was therefore great and the beautiful room of the Elephant Paname was full to bursting. Benjamin Bernheim showed that besides the natural timbre of his voice with a warm emission, he possesses that intelligence without which one does not make a great artist. The construction of his recital was a perfect demonstration of his personality and of his possibilities: Duparc, first of all, in order to make heard, in the subtle nakedness of the melody, the mastery of pronunciation and the richness of inner expression; The French operas then, Gounod, Massenet, for the nobility of singing, for the perfect articulation of French which recalls forgotten times, for the dramatic intensity too (in the Des Grieux de Manon!), With this ability to color the Sounds and to project them with a rare authority without ever appearing forced. And what acute, clear, trembling, ardency!

Alain Duault

Critical Acclaim

“In 1994, as music lovers in short pants greedy for new lyrical experiences (which has not changed since then), we discovered subdued, from the heights of the Salle Favart, a young tenor singing, from Romeo and Juliet of Gounod, « Ah, lève-toi soleil » as ever we would have suspected it was possible to sing it. Lightness, diction, phrasing, youth … We then had to understand that it was useless to analyze what we had felt. The many reasons identified, developed and put together end to end, could not explain what a single word suffices to summarize: grace.

Christophe Rizoud
Forum Opéra

Critical Acclaim

“The Tebaldo of Benjamin Bernheim stands firm with a light tenore di grazia and its upper register.”

{Durchaus mithalten kann der Tebaldo von Benjamin Bernheim mit hellem tenore di grazia und einer Tonhöhe.}

Ingrid Wanja
Opera Lounge

Critical Acclaim

“The tenor Benjamin Bernheim who sang the part of Nicias, the rich playboy from Alexandria, brought plush sound and lyrical singing to the role.”

Irving Spitz
The Jerusalem Post

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