Press

Critical Acclaim

As Ismaele, the agile Benjamin Bernheim gave a stunning debut, his voice clear as a bell and just as inviting.


Sarah Batschlelet
Bachtrack

Critical Acclaim

Die Tenorpartie des Ismaele wurde von BENJAMIN BERNHEIM gesungen. Er ist seit dem Anfang seiner Karriere als ehemaliges Mitglied des Internationalen Opernstudios mit dem Haus verbunden und heute auf vielen bedeutenden Bühnen ein gern gesehener Gast. Die Rolle des Ismaele ist von Verdi nicht mit großen Arien ausgestattet und erfordert trotzdem einen vollen Einsatz. Die strahlende Stimme dieses Tenors erklang aufs Schönste und man freut sich bereits auf seine weiteren Auftritte in Zürich.

{The tenor role of Ismaele was sung by BENJAMIN BERNHEIM.  He has been associated with the house since the beginning of his career as a former member of the International Opera Studio and is now a welcome guest on many major stages.  Verdi did not give Ismaele impressive arias, yet the role still requires full commitment. The radiant voice of this tenor sounded most beautiful and one is already looking forward to his further appearances in Zurich.}


Marco Stücklin
Das Opern Magazin

Critical Acclaim

Benjamin Bernheim a bien des atouts pour incarner un Des Grieux avec lequel il faudra compter : un physique avenant, une élocution quasiment parfaite, une ligne musicale impeccable et une lumière dans la voix qui la rend amoureux déchiré entre la foi et la chair.

{Benjamin Bernheim has many assets which allow him to embody a Des Grieux that we’ll have to count on : an attractive physique, an almost perfect diction, a flawless musical line and light in the voice that showcases how torn he is between faith and the flesh.}


Michel Parouty
Opéra Magazine

Critical Acclaim

Benjamin Bernheim a lui choisi l’autre versant, à droite de la scène sur un balcon, pour demander Pourquoi me réveiller ? grâce à l’air de Massenet. Le ténor étale alors son magnifique timbre et sa ligne sans vibrato, pour un cours de clarté française…

{Benjamin Bernheim chose the other side, on the right of the stage on a balcony, to ask Pourquoi me réveiller ? via the aria by Massenet. The tenor graced us with his beautiful timbre and vocal line without vibrato, with exquisitely clear French …}


Vincent Guillemin
ResMusica

Critical Acclaim

Él era Benjamin Bernheim, (portada de Codalario de Marzo) y desde entonces su fama no ha parado de crecer, siendo ya un asiduo en los mejores teatros del mundo. La misma sorpresa se llevaron el sábado los aficionados ovetenses, convirtiéndose el francés en el gran triunfador de la noche. Desde su primera aparición con el aria de «Faust Salut! Demeure chaste et pure», mostró unos medios privilegiados, un registro medio y agudo potente, y una colocación de la voz perfecta, permitiéndole al francés una proyección y unos matices que lo encumbraron en su segunda aria, «Pourquoi me réveiller», donde mostró un fraseo y una musicalidad que recuerdan a los grandes tenores de antaño, siendo el aria de Werther el mejor momento de la noche y donde el público ovetense se rindió al francés. En la siguiente aria del Manon de Massenet «Toi Vous!» nos deleitó con una parte que lo acaba de encumbrar en Burdeos, y no es para menos. Su voz es un soplo de aire fresco en el panorama lírico actual. Su última aria del repertorio francés fue con el Faust de Berlioz, «Nature immense impenetrable», rol que debería incorporar a su repertorio cuanto antes. Su dicción es perfecta, su francés no está nasalizado y su toque metálico en el agudo, junto con un timbre magnético, hacen de él el mejor tenor actual en este repertorio, y a mi parecer el mejor tenor lírico de su generación. Como Des Grieux y Faust no tiene parangón, pero en cuanto incorpore los roles de Werther y Roméo, que llegarán seguro dentro de poco, será invencible. Otros roles que creemos que serán perfectos para él, y que seguro irá incorporando con el tiempo, ya que es muy joven, serán Hoffmann, Don José y Don Carlos. El año pasado la ópera de Burdeos escuchó nuestras plegarias y programó una Manon con Benjamin Bernheim-Nadine Sierra, siendo uno de los grandes éxitos del año. Ahora nos atrevemos a pedir otra ópera maravillosa, pero menos programada, Lakmé de Delibes, otra vez con Bernheim y con una de las mejores sopranos actuales, la francesa Sabine Devieilhe, ya que creo que sería algo absolutamente maravilloso juntar a los dos mejores cantantes franceses del momento en una ópera de esas dificultades.

{He was Benjamin Bernheim, his fame has not stopped growing, and he is already a regular at the best theaters in the world. On Saturday, he was greeted by his fans with the same reaction, becoming the French big winner of the night. From his first appearance with the aria from Faust, “Salut! demeure chaste et pure ,” he showed a powerful middle and high register, and perfect vocal placement, allowing the Frenchman to project with nuances that he showcased in his second aria,” Pourquoi me réveiller, ” where he demonstrated phrasing and a musicality that remind us of the great tenors of yesteryear. When he performed Werther’s aria, it was the highlight of the night, and at that moment, the Oviedo public surrendered to French. In the next piece, from Massenet’s Manon, “Toi Vous!” he delighted us with a part that has just performed to acclaim in Bordeaux, and no wonder. His voice is a breath of fresh air in the current operatic panorama. His last aria was from the French repertoire: Berlioz’s Faust, “Nature immense impenetrable;” a role that should be included in his repertoire as soon as possible. His diction is perfect, his French is not nasalized, and, along with a magnetic tone, this make him the best current tenor in this repertoire, and in my opinion the best lyrical tenor of his generation. As Des Grieux and Faust, he is unparalleled, but as soon as he incorporates the roles of Werther and Roméo, which he will shortly, he will be invincible. Other roles that we believe will be perfect for him, and that will surely be incorporated over time, since he is very young, will be Hoffmann, Don José and Don Carlos. Last year the opera from Bordeaux listened to our prayers and programmed a Manon with Benjamin Bernheim-Nadine Sierra, and the opera became one of the great successes of the year. Now we dare to ask for another wonderful opera, but less programmed, Lakmé de Delibes, again with Bernheim and with one of the best current sopranos, the French Sabine Devieilhe, since I think it would be something absolutely wonderful to bring together the two best French singers of the moment in an opera that presents such challenges.}


Inés Tartiere
Codalario

Critical Acclaim

Asombroso Benjamin Bernheim desde la primera nota de su Fausto (Gounod), potencia, gusto en su línea de canto, robustez en la emisión y amplia gama dinámica que ayudaron a convertirlo en mi triunfador de la noche. Su Werther (Massenet) del “Pourquoi me réveiller” está a la altura de los mejores tenores actuales, el francés no lo nasaliza, es su lengua materna, el sonido es redondo, claro, y con Puccini Rodolfo brilló más que Mimí, si bien el empaste de ambas voces resultó ideal, debiendo “plegarse” a la soprano en los finales donde Bernheim siempre estuvo sobrado. Me puso la piel de gallina con “Che gelida manina”..

{Amazing Benjamin Bernheim from the first note of his Faust (Gounod), [had] power [and] taste in his singing line, robustness in his projection and wide dynamic range that helped make him my winner of the night. With his Werther (Massenet) “Pourquoi me réveiller” he competes with the best current tenors, the French does not nasalize him, it is his mother tongue, the sound is round, clear… I got goosebumps with “Che gelida manina”…}


Pablo Siana
La Música en Siana

Critical Acclaim

Benjamin Bernheim hingegen, der mit Des Grieux in Bordeaux ebenfalls ein Rollendebüt feiert, erfasst den Charakter seiner Figur ganz aus der Intonation der französischen Sprache. Während er szenisch etwas unbeholfen vor Manon auf die Knie fällt, entgeht seinem warmen und zugleich strahlenden Tenor kein Akzent, keine Schattierung. Beeindruckend organisch gelingen ihm die schnellen Tonwechsel. So vor allem in der grossen Klosterszene (“Ah fuyez”), in welcher Des Grieux versucht, das Bild Manons aus seiner Erinnerung zu tilgen. Überaus zart und wehmütig setzt Bernheim im Pianissimo an, um seine Stimme im nächsten Moment zu einem erschütternden Espressivo zu treiben. Die Aufmerksamkeit des Publikums gehört hier einzig Benjamin Bernheim.

{Benjamin Bernheim, on the other hand, who also made a role debut with Des Grieux in Bordeaux, captures the character of his character entirely with the intonation of the French language. While he falls on his knees in a somewhat awkward manner in front of Manon, his warm and at the same time radiant tenor captures every accent, and shade. He impressively organically masters his change in registers (into head voice). Especially in the large monastery scene (“Ah fuyez”), in which Des Grieux tries to erase the image of Manon from his memory. Extremely tender and wistful, Bernheim begins pianissimo, in the next moment casts his voice into a harrowing espressivo. The audience’s attention here belongs solely to Benjamin Bernheim.}


Antonia Munding
Oper!

Critical Acclaim

“On attendait un grand moment. Ce fut un choc et un éblouissement. Sans doute l’une des incarnations les plus riches et enthousiasmantes entendues depuis longtemps sur une scène lyrique. Puissance, intensité, douceur, sensualité, diction savamment distillée, intelligence du style, noblesse des sentiments : le ténor français, souvent présenté comme le nouveau Roberto Alagna, est tout simplement renversant. Il possède de surcroît cet art subtil et trop oublié de la demi-teinte en voix de tête.”

{We were waiting for a big moment. It was a dazzling shock. Without doubt one of the richest and most exciting incarnations heard for a long time on the opera stage. Power, intensity, sweetness, sensuality, skillfully distilled diction, intelligence of style, nobility of feelings: the French tenor, often presented as the new Roberto Alagna, is simply stunning. He possesses in addition this subtle and too forgotten art of using different shades of head voice.}


Marie-Aude Roux
Le Monde

Critical Acclaim

Bernheim is by some distance the finest Des Grieux I have heard: young, good-looking, with an understanding of the style – his dreamlike, head-voiced “Rêve” was a miracle of vocal elegance – he is without equal today…a godsend for this undervalued repertoire.


Hugh Canning
The Sunday Times

Critical Acclaim

Benjamin Bernheim incarne un Des Grieux vocalement parfait. C’est d’abord par le placement de la voix, par une projection extrêmement aisée et une diction de rêve qu’il nous ravit, ces éléments lui permettant d’offrir une palette de nuances extraordinaire, du fortissimo jamais outré au pianissimo délicat, utilisé toujours dans un but pertinent. Sa classe, sa distinction, en font le chevalier idéal. On le compare aujourd’hui au jeune Alagna et c’est mérité, même si ce n’est pas tout-à-fait exact. Tous deux ont en commun une diction merveilleuse et des « r » non roulés, ainsi que quelques rôles (quoique Bernheim chante aussi des rôles en allemand, d’Eginhard à Tamino, qu’Alagna n’a jamais abordés), mais ils diffèrent sensiblement par le timbre (plus de soleil et de couleur dorée chez le franco-sicilien, un timbre plus opalescent chez le franco-suisse) et par l’émission, plus pure chez Bernheim, le médium d’Alagna ayant très tôt été élargi dans une émission plus basse. Mais Bernheim est d’abord lui-même, et révèle même des ressources d’acteur épatantes à l’hôtel de Transylvanie, lors des moments de violence avec Guillot et Lescaut, où il se donne sans compter.

{Benjamin Bernheim embodies a vocally perfect Des Grieux. The placement of the voice is exemplarily, with extremely easy projection and a dream diction that delights us. These elements allow him to offer an extraordinary palette of nuances, from a never exaggerated fortissimo to a delicate pianissimo, always used for a relevant purpose. His class, his distinction, make him the ideal knight. He is compared today to the young Alagna and it is well deserved, even if it is not quite exact. Both share a wonderful diction and un-rolled r’s as well as some roles (though Bernheim also sings German roles, from Eginhard to Tamino, which Alagna never sang), but they differ significantly by the stamp (more sun and golden color in the Franco-Sicilian, a more opalescent color in the Franco-Swiss) and the vocal production, with Bernheim’s being more pure, Alagna’s middle voice expands more in the lower range. But Bernheim is first of all himself, and even reveals incredible acting resources at the Transylvanian hotel, during violent moments with Guillot and Lescaut, where he gives or himself without reservation.}


Markossipovitch
ODB-Opéra

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