Critical Acclaim

…jeder einzelne Track [ist] mit populären Arien des französischen und italienischen Fachs für lyrischen Tenor eine farbig schimmernde Perle. Denn der 34-Jährige gestaltet mit einer Subtilität und Zartheit – singt manchmal aber auch mit tenoraler Attacke –, dass man manche der wohlbekannten Arien das erste Mal zu hören glaubt.

[… every single track [is] a colorful, shimmering pearl with popular arias from the French and Italian lyrical tenor [repertoire]. The 34-year-old colors with a subtlety and tenderness – but sometimes also sings with a tenor attack – you believe you are hearing some of the well-known arias for the first time.]

Süddeutsche Zeitung

Critical Acclaim

L’ampleur de la projection, la noblesse de la déclamation, l’énergie dans la progression dramatique laissent véritablement pantois.

[The scale of the projection, the nobility of the declamation, [and] the energy in the dramatic progression leave us truly speechless.]

Richard Martet
Opéra Magazine

Critical Acclaim

“…l’Alfredo de Benjamin Bernheim, couleur et diction d’argent pur, phrasés d’une absolute souplesse…”

[“… Benjamin Bernheim’s Alfredo, a color and diction of pure silver, phrased with absolute suppleness…]


Critical Acclaim

Du culot, Benjamin Bernheim peut se permettre d’en avoir, nouvel astre à son zénith dans la galaxie ténor qui a déjà fait chavirer le public de l’Opéra de Vienne, de Covent Garden, de la Scala…Et qui vous fera chavirer dès les premières mesures du Lied d’Ossian de Werther : on n’a pas entendu une diction aussi claire depuis Roberto Alagna avec, chez le nouveau venu, quelque chose de moins solaire, de plus taciturne, de plus fouillé dans le dessin mélodique et l’art de la demi-teinte.
C’est en français (sa langue natale) que Bernheim excelle.
Le théâtre verdien est l’autre terre d’élection de celui qui vient de faire un tabac au palais Garnier dans La traviata. On retrouve ici l’air d’Alfredo mais aussi ceux de Mantoue (Rigoletto) et de Rodolfo (Luisa Miller), avec partout le même ciselure, le même rebond du verbe, portés par une manière particulière d’accentuer les consonnes, des voyelles épanouies, et partout un art des caractères renversant de naturel et d’intelligence mêlés. L’album se referme avec un autre Rodolfo, celui de La Bohème, “rôle signature” comme disent les anglo-saxons. Un poète parle, la “Gelida manina” qu’il saisit, c’est celle de Mimi, mais c’est aussi la nôtre : suivons-le !

[Blessedly, Benjamin Bernheim can afford to be the new star at its zenith in the tenor galaxy, that has already bowled over the audience of the Vienna Opera, Covent Garden, La Scala…and who will amaze you during the first measures of the Ossian Lied from Werther: we have not heard such clear diction since Roberto Alagna with, in the newcomer, something less solar, more taciturn, more excavated in the melodic design. It is in French (his native language) that Bernheim excels.

The Verdian theater is the other land of choice of the one who has just made a hit at the Garnier Palace in La Traviata. We find here the air of Alfredo but also those of Mantua (Rigoletto) and Rodolfo (Luisa Miller), with everywhere the same carving, the same rebound of the verb, carried by a particular way to accentuate the consonants, vowels blooming, and everywhere an art of stunning characters of naturalness and intelligence mingled. The album closes with another Rodolfo, that of La Bohème, “role signature” as the Anglo-Saxons say. A poet says, how “Gelida manina” that he captures, and they are those of Mimi, but it is also ours: be sure to follow him!

Emmanuel Dupuy

Critical Acclaim

Benjamin Berheim, the French young tenor who performed Alfredo, was a gratifying revelation. He has a splendid pure lyrical voice with a dark timbre and even a baritonal quality in the middle and lower register of the voice. His high notes are round and well-projected, but most impressive of all is the potency of his voice when he sings soft, whether in mezza voce or pianissimo.

His interpretation of the duet “Un di, felice” was remarkable for his use of the dynamics and mezza voce. The same could be said for his aria “De mie bollenti spiriti” that he had to sing while crushing vines, an action that is undeniably not easy to do when you have to sing long legato phrases ascending to high A flats.

He sang the cabaletta “Oh! Mio rimorso” with rage and fury, including with two well-sustained high B flats. He proved his acting qualities when he finds Violetta has dumped him and at Flora’s party in the second part of act two when Alfredo is completely drunk and wasted ( in this production). He sounded menacing during “Ogni suo aver tal femmina,” always keeping his torrential voice in control, but full of emotion. He threw the bills in Violetta’s face and during the next chorus he kept grabbing the bills from the floor and throwing them at her.

He was at the same level in the third act, singing softly in “Parigi o cara” or letting his whole voice out in “Oh mio sospiro, oh palpito.”

Mauricio Villa

Critical Acclaim

His vocal credentials – bright and supple across his range – are in evidence throughout…

Melissa Lesnie

Critical Acclaim

Bernheim sang herrlich…vokal schluchzend, ohne die Gaumensegel zu strapazieren, dafür hell, klar, lodernd expressiv.

[Bernheim sang splendidly … “sobbing” vocally, without straining the soft palate, but bright, clear, flamingly expressive.]

Salzburger Nachrichten

Critical Acclaim

Benjamin Bernheim ist derzeit der begehrteste Tenor weltweit. Der Franzose ist Mitte 30, ein verspielter, groß gewachsener Mann, der sich auf der Bühne so natürlich bewegt, wie er mühelos singt. Er ist auch ein grandioser Komödiant, sein Charme reißt hin.

[Benjamin Bernheim is currently the most sought-after tenor worldwide. The Frenchman is in his mid 30s, a playful, tall man who moves on stage as naturally as he effortlessly sings. He is also a terrific actor, his charm brings us to tears.]

Reinhard J. Brembeck
Süddeutsche Zeitung

Critical Acclaim

Benjamin Bernheim is known for his performances in Faust in the standard version [see my review of Faust from Riga], but his beautifully focused voice with its fine sense of elegant line gives the character a rather younger feel. He is ideal casting, and I can think of no other modern performance which brings such ardency, clarity and beauty to the role. Bernheim sings much of the higher line in the voix mixte which was commonly used by tenors at the Opéra Comique and Théâtre Lyrique [a voice type explored in tenor Julien Behr’s recital, Confidence, from Palazzetto Bru Zane, see my review], a world away from the bigger, and sometimes harsher sound of the modern tenor. Faust is a shit, but Bernheim almost makes you love him.

Planet Hugill
Planet Hugill

Critical Acclaim

Parisian lyric tenor Benjamin Bernheim excels in the title role of aged philosopher Faust. Convincing from start to finish, he gives a polished and pleasing performance. A stand-out for me is the act two cavatina Salut! demeure chaste et pure with violin accompaniment where Faust idealizes Marguerite as an innocent and beautiful child of nature. Splendidly controlled, Bernheim sings with persuasive romantic feeling. He gives a smooth and warmly expressive performance, soaring persuasively to his top notes.

Michael Cookson
Music Web International

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