Press

Critical Acclaim

Mais avouons que c’est surtout Alfredo qui devrait émoustiller nos ouïes. Toutes les fées semblent s’être penchées sur le berceau du ténor suisse [francais] , Benjamin Bernheim que d’aucuns comparent (à forte juste titre) sur Roberto Alagna des premières années. Grâces, musicalité, diction, elegance, et un naturel parfois sidérant, comme si le chant était sa respiration. Celui qu’on retrouvera cette saison dans La bohème puis Manon poursuit son éclatante ascension.

[But, let us admit that it is especially Alfredo who should titillate our senses. All the fairies seem to have bent over the cradle of the Swiss [French] tenor, Benjamin Bernheim, whom some compare (with good reason) to Roberto Alagna at the beginning of his career. Grace, musicality, diction, elegance, and a natural sometimes astonishing [voice], as if singing was his breathing. We will see him again this season in La bohème then Manon, as he continues his dazzling rise.]


Le Figaro
Le Figaro

Critical Acclaim
Benjamin Bernheim apparaît réjoui de ce rôle, déplaçant sa brouette pleine de raisin avant de fouler les grappes avec un grand sourire, qui ajoute encore à la luminosité de ses couleurs vocales. Il combine des forte assurés et déployés jusqu’aux aigus bien couverts, avec en outre l’inflexion du ténor verdien au pincé-soufflé délicat. La voix est puissante dans son appui, son déploiement et ses sonorités mais en sachant d’autant mieux ménager les moments de tendresse et de douceur articulées.
[Benjamin Bernheim appears to be delighted with this role, moving his wheelbarrow full of grapes before squashing the grapes with a big smile, which adds to the brightness of his vocal colors. He combines strong, insured and deployed singing all the way up to the well-covered high register, with the addition of the verdant tenor to delicate “pincé-soufflé.” The voice is powerful in its support, its deployment and yet we enjoy it all the more knowing that he can manage moments of tenderness and softness equally well.]

Charles Arden
Olyrix

Critical Acclaim

Benjamin Bernheim trouve en Alfredo un rôle à la mesure de ses moyens. La voix est large et remplit sans peine tout le théâtre, de plus le ténor possède une dynamique qui lui permet de nuancer sa ligne de chant avec bonheur. Son duo final avec Violetta est particulièrement émouvant.

[Benjamin Bernheim  found in Alfredo a role that perfectly matches his abilities. The voice is broad and easily fulfills the whole theater, moreover the tenor has a dynamic that allows him to nuance his line of song with happiness. His final duet with Violetta is particularly moving.]


Christian Peter
Forum Opera

Critical Acclaim

There’s wonderful singing from Benjamin Bernheim as Faust, an immaculate stylist who crowns the famous air Salut, demeure with a perfectly placed high C in voix mixte.


Hugh Canning
The Times

Critical Acclaim

In der Titelrolle brilliert Benjamin Bernheim. Was für ein Tenor, was für ein umwerfendes Timbre! Als wär‘s ein junger Alagna, besticht sein markant lyrischer Tenor sowohl in der Arie „Salut, demeure chaste et pur“ als auch den dramatischeren Ensembles durch traumhaften Wohllaut, eine exzellent in der „Maske“ sitzende Stimme, scheinbar unendliche Energien und fulminante Höhen. Der Franzose fällt darüber hinaus durch elegantes Phrasieren und einen gekonnten Lagenwechsel mittels des gezielten Einsatzes der „voix mixte“ auf. Bernheim lässt mit dieser Leistung genauso aufhorchen, wie dies Jonas Kaufmann mit seinem ersten Alfredo 2007 in Paris gelang. Hoffentlich lässt er sich nicht zu rasch zu Spintorollen drängen. Das „Corelli-Fach“ kann warten.

[Benjamin Bernheim excels in the title role. What a tenor, what a stunning timbre! As if it were a young Alagna, his distinctive lyrical tenor captivates both in the aria “Salut, demeure chaste et pur” as well as the more dramatic ensembles where his performance is dreamlike. He has an excellent placement in the “mask,” seemingly infinite energy and brilliant high notes. In addition, the Frenchman stands out with elegant phrasing and a skilful change of position through the targeted use of the “voix mixte.” Bernheim’s performance is just as noteworthy as Jonas Kaufmann’s first Alfredo in Paris in 2007. I hope he does not let himself be pushed too fast. The “Corelli Tray” can wait.]


Dr. Ingobert Waltenberger
Online Merker

Critical Acclaim

The performance more notable for Benjamin Bernheim’s role debut here as Alfredo, lyrical, elegantly phrased and ardently sung – possibly the finest here since Piotr Beczala’s to the Violetta of Ailyn Pérez in 2011. We now urgently need to hear Bernheim in his native repertoire, as Faust, Hoffmann, Werther.


Hugh Canning
Opera Magazine

Critical Acclaim

…Bernheim – probably the most convincing Des Grieux I have witnessed in my operatic lifetime…Bernheim, however, is the real McCoy, the romantic French tenor we have all been waiting for, lavishing all his vocal know-how – dynamic variety, vitality of expression, ringing top notes in full voice or voix mixte  – on his big solos. I have never heard ‘Rêve’ more dreamily sung, nor ‘Ah! fuyez douce image’ more grippingly delivered. This was his first attempt at the role, but he will surely make it his own after he sings the role at the Opéra in Paris – the Bastille rather than the Garnier, unfortunately – next season. Let’s hope the Royal Opera wakes up to his potential in his native repertoire soon, too.


Hugh Canning
Opera Magazine

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

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