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Mr. Bliss is represented by IMG Artists/Sam Snook. Contact management here.

© Jennie Moser 2019. All rights reserved. Website by Jennie Moser Design.

PRESS

BEN BLISS IN THE NEWS

Mr. Bliss was recently featured in The New York TImes' '‘Così’ at the Met: The Week’s Best Classical Music Moments on YouTube.'

"Even in the climactic moment of the song, when he clings to a high note, Mr. Bliss sings with full-voiced intensity without sounding generically operatic. You’ll seldom hear a finer performance. "

THE ABDUCTION FROM THE SERAGLIO

BELMONTE | LYRIC OPERA OF KANSAS CITY

"Kansas tenor Ben Bliss is an exemplar of the Mozartean tenor, bringing to the role of Belmonte purity of tone, vocal control and artistic sensitivity."

OPERA WARHORSES

"Ben Bliss, a native Kansas Citian, was back to make his debut here as Belmonte (as a side note, his mother is a singer in the chorus, so this was something of a family affair). His voice is elegantly Mozartian, its tones and nuances sensitively rendered, long notes well sustained, breath controlled admirably. There was nothing unrefined or forced about his tone; it was entirely fitting throughout."

BROADWAY WORLD

THE ABDUCTION FROM THE SERAGLIO/LYRIC OPERA OF KANSAS CITY

PHOTO BY karli cadel

COSI FAN TUTTE

FERRANDO | SANTA FE OPERA

"Bliss gave a master class in Mozart for lyric tenors, singing with style, sensitivity and easily achieved upper register. He also was not afraid to put clarity of meaning and emotional content ahead of beautiful tone at appropriate moments."

SANTA FE NEW MEXICAN

"Tall and slim Ben Bliss had a moderately sized tenor voice with a distinctive tone. He was a charming Ferrando who sang the aria: 'Un'aura amorosa' ('A loving aura') with a captivating sweetness as he showed that he, too, could move while singing."

BROADWAY WORLD

"All four singers— Ben Bliss (Ferrando), Jarrett Ott (Guglielmo), Amanda Majeski (Fiordiligi), and Emily D'Angelo (Dorabella)— have glorious voices that blend beautifully and are ideal for these roles... During Mr. Bliss's exquisite performance of 'Un'aura amorosa' which can be just a pretty tenor aria, the subtle body language of [Rod] Gilfry and Tracy Dahl, an irrepressible Despina, told us that they were now hearing it as an echo of their old, now rotted, love affair."

THE WALL STREET JOURNAL

 

COSÌ FAN TUTTE/SANTA FE OPERA

PHOTO BY KEN HOWARD

SUMMER RECITAL SERIES

THE METROPOLITAN OPERA

"Next was 'Dies Bildnis ist bezaubernd schon,' sung by tenor Ben Bliss. This early romantic number saw Bliss delivering lovely, ornamented phrases while treating the repetitions with a rising forte that bolstered his passion with sufficient power; his expressions conveyed the sense of one taking in the new and exciting possibility of love... Ben Bliss’ selections were all based around love, exploring the myriad of circumstances it creates. From Massenet’s Manon, Bliss sang 'En fermant les yeux,' reaching a breathtaking delicacy with the high A which comes in the middle of the closing phrase... His performances of Lenski’s aria 'Kuda, kuda, kuda vy Udalilis,' from Tchaikovsky’s Eugene Onegin, took things in a more dire direction as he awaited what would become a fatal duel; his somber phrases escalated before Bliss sighed them away to close the opening stanza... Just as the following lighter section began to brighten the mood, Lenski’s thoughts of Olga dyed Bliss’ phrases with a rueful, ardent beautyOne of his later numbers was the duet 'Caro Elisir! Sei Mio!… Esulti pur la Barbara,' from Donizetti’s L’elisir d’Amore. Bliss’ fun, earlier indifference took a more meaningful turn when Fang made her entrance, the accompaniment likewise becoming more sentimental. Their harmonies spoke of a deeper connection while they maintained their facades and exchanged sparring phrases. Their dual cadenza came to a soft and beautiful close, with Bliss and Fang sharply turning and walking away from the other, opting to brush off rather than bask in the romantic atmosphere."

OPERAWIRE

"The inclement weather on Monday actually made the ardent performances of these undeterred singers more special. The evening began with a short medley from Mozart’s Die Zauberflöte... Mr. Bliss brought his honeyed lyric tenor voice to Tamino’s declaration of love..."

THE NEW YORK TIMES

 

DON GIOVANNI

DON OTTAVIO | HOUSTON GRAND OPERA

"Holten’s staging pointed up how ineffectual Ottavio is: During his first aria, “Dalla sua pace,” the agonized Anna turned and left as he sang to her. But tenor Ben Bliss’s dignified bearing and fluent, graceful singing at least gave Ottavio a genuine sincerity."

TEXAS CLASSICAL REVIEW

"...Her lovable but stuffy fiancé Don Ottavio (played by magnificent tenor Ben Bliss)..."

HOUSTONIA MAGAZINE

"As Don Ottavio, Kansas tenor Ben Bliss provided a textbook lesson on how to sing the character’s two great arias 'Dalla sua pace' and 'Il mio tesoro', with melodic variations for the second verses of each. He sang beautifully in the trios with Donna Anna and Donna Elvira."

OPERA WARHORSES

"Meanwhile, Donna Anna continues her pursuit, with puppy dog finance Don Ottavio (blissful tenor Ben Bliss) in tow for revenge..."

HOUSTON PRESS

 

MOZART REQUIEM

TENOR SOLOIST | NEW YORK PHILHARMONIC

"The four soloists each had distinctive qualities — standouts were the tenor Ben Bliss, who brought the dramatic textures you might hear in his Mozart over at the Metropolitan Opera..." 

THE NEW YORK TIMES

"...Ben Bliss showed why he is one of the leading Mozartian tenors on the scene today."

NEW YORK CLASSICAL REVIEW

 

DON GIOVANNI/HOUSTON GRAND OPERA

PHOTO BY LYNN LANE

MOZART REQUIEM/NEW YORK PHILHARMONIC

PHOTO BY CAITLIN OCHS

 

COSI FAN TUTTE

FERRANDO | CANADIAN OPERA COMPANY

“…[As] Ferrando tenor Ben Bliss [is] at his lyric best.”

TORONTO STAR

"I first heard tenor Ben Bliss (Ferrando) sing in Doctor Atomic and Capriccio in Santa Fe, and it’s great that he is making his Canadian debut here. His “Una aura amorosa” among the best I’ve heard." 

LUDWIG VAN TORONTO

COSÌ FAN TUTTE/CANADIAN OPERA COMPANY

THE MAGIC FLUTE

TAMINO | THE METROPOLITAN OPERA

"Ben Bliss sang Tamino with a tender yet ample lyric tenor voice and earnestness."

THE NEW YORK TIMES

"Ben Bliss, who is becoming a leading Mozart tenor... [was] sweet, lovely, and graceful..."

NEW YORK CLASSICAL REVIEW

As Tamino, tenor Ben Bliss captured the development of the character as he matures from headstrong to heroic. His aria “Dies Bildnis ist bezaubernd schön,” contained a tender passion... The emotion of Bliss’ recitative before the aria “Wie stark ist nicht dein Zaubertön,” made for a nearly-seamless transition between speech and song.

OPERAWIRE

 

THE TURN OF THE SCREW

PETER QUINT | SEATTLE OPERA

"Ben Bliss projects a gently menacing and persistent Quint, who transmits terror through piercing and knowing gazes as much as his ephemeral singing."

SEEN AND HEARD INTERNATIONAL

"It’s hard to imagine anyone better suited to play Peter Quint than Ben Bliss, whose presence lends a sense of menace about to pounce."

THE SEATTLE TIMES

 

THE MAGIC FLUTE/THE METROPOLITAN OPERA

DOCTOR ATOMIC

DR. ROBERT WILSON | SANTA FE OPERA

"Tenor Benjamin Bliss did a superb job as Wilson, displaying a side to his elegantly modulated singing that was considerably more dramatic than the strictly lyric parts with which we most associate him. He managed to inject real life into lines that, while drawn from authentic sources, land with a thud in the libretto.”

SANTA FE NEW MEXICAN

"Ben Bliss [was] pure-voiced and worried as the conflicted physicist Robert Wilson."

"Mr. Bliss…makes [a] vigorous impression..."

THE NEW YORK TIMES

THE WALL STREET JOURNAL

 

THE TURN OF THE SCREW/SEATTLE OPERA

DOCTOR ATOMIC/SANTA FE OPERA

IN CONCERT: BRITTEN

ASPEN MUSIC FESTIVAL & SCHOOL

"Tenor Ben Bliss and French horn master Andrew Bain delivered sensitive contributions...Bliss, who was a student here only a few years ago and now sings principal roles at the Metropolitan Opera and Santa Fe Opera, articulated the poetry of Tennyson, Blake and Keats with clarity in a sweet tenor that had no trouble ascending to the high range the score requires."

THE ASPEN TIMES

 

COSI FAN TUTTE

FERRANDO | THE METROPOLITAN OPERA

"Bliss was, well, blissful. His legato line was pristine and every sound that came out of his voice was suave and gentle. He caressed with every phrase, the higher notes coming off effortlessly. The latter aria had a bitterness in its coloring, yet he retained a restrained singing, the accenting kept in check. You felt that Ferrando was, more than disappointed, deeply hurt and his singing had a pleading and weeping quality to it. In his scenes with Fiordiligi, the passion came from his sweetness."

OPERAWIRE

"Bliss’s graceful, flowing performance of “Un’aura amarosa” was the most musically compelling moment of the performance."

"Ben Bliss is wonderful as Ferrando, with an ideally sweet voice and boyish earnestness."

THE NEW YORK TIMES

NEW YORK CLASSICAL REVIEW

Ben Bliss...is a truly exceptional tenor.

NATIONAL REVIEW

[Bliss's] legato line was pristine and every sound that came out of his voice was suave and gentle. He caressed with every phrase, the higher notes coming off effortlessly.

BACHTRACK

 

COsi Fan tutte/THE METROPOLITAN OPERA

THE FLYING DUTCHMAN

STEUERMANN | THE METROPOLITAN OPERA

"...Mr. Nézet-Séguin guided Mr. Bliss in a performance that had the directness and intimacy of a Schubert lied."

"Ben Bliss practically stole the third act."

OBSERVER

"Tenor Ben Bliss ... performance was equal parts sheer loveliness and charm—the “Helmsman’s Song” was extraordinarily mellifluous."

THE NEW YORK TIMES

NY CLASSICAL REVIEW

 

THE FLYING DUTCHMAN/THE METROPOLITAN OPERA

THE MAGIC FLUTE

TAMINO | OPERA PHILADELPHIA

"Tenor Ben Bliss as Tamino sings with such an exquisite sound and impressive command, that we forget just how difficult of an aria "Dies Bildnis" is."

"Bliss...earn(ed) high marks for beautiful lyric singing." 

"Sweet voiced and elegant."

BACH TRACK

BROADSTREET  REVIEW

SCHMOPERA

 

THE MAGIC FLUTE/OPERA PHILADELPHIA

HANDEL'S MESSIAH

TENOR SOLOIST | NEW YORK PHILHARMONIC

"[Bliss] was a model of relaxed, assured singing—and the diction champion of the night—as his clear voice, woody at the core, curled easily around the phrases of “Ev’ry valley” and achieved trumpet-like intensity in “Thou shalt break them."

"Bliss was an excellent tenor, strong and attractive of tone and manner."

THE NEW YORK TIMES

NEW YORK CLASSICAL REVIEW

"Tenor Ben Bliss stole the show whenever he opened his mouth, with powerful but sweet, evenly produced tone, impeccable diction, and unforced attention to the words. Of the four soloists, he offered the most stylish and confident ornamentation, making his flourishes sound spontaneous. He’s one to watch."

OPERAWIRE

 

THE RAKE'S PROGRESS

TOM RAKEWELL | BOSTON LYRIC OPERA

“Enough good things cannot be said about the cast. As the impetuous young Tom, Bliss initially let warm high notes flow with the easy assurance of someone who knows fortune has favored him, and later added a bitter edge and delicate quaver as his character was corrupted and then driven insane.”

BOSTON GLOBE

“…Ben Bliss pulls out all the stops for this role, growing gradually stronger and surer as his character progresses. His powerful “Here I stand” opens the show, and his gorgeous hymns to Venus in Act III almost bring us to our knees with him.”

“Ben Bliss is destined to be a star, at turns cocky and vulnerable with just a slight change of vibrato.”

BOSTON UNIVERSITY NEWS SERVICE

BOSTON MUSICAL INTELLIGENCER

 

THE RAKE'S PROGRESS/BOSTON LYRIC OPERA 

THE MAGIC FLUTE

TAMINO | THE METROPOLITAN OPERA

"Ben Bliss was outstanding as Tamino, meeting all the vocal demands of his role without betraying any effort. His light, ringing sound is ideal for the prince, and he combined earnest feeling with innate lyrical sense in his singing."

"Ben Bliss’ captivating tenor was a perfect fit for the handsome Prince Tamino. His “Wie stark ist nicht dein Zauberton” was performed with robust acumen."

NEWYORKTHEATREGUIDE.COM

NEW YORK CLASSICAL REVIEW

 

THE MAGIC FLUTE/THE METROPOLITAN OPERA

THE RAKE'S PROGRESS/BOSTON LYRIC OPERA 

THE MAGIC FLUTE

TAMINO | LOS ANGELES OPERA 

"...an ever-elegant and solid Tamino."

LA TIMES

"Bliss, a towering young tenor...is a wonderful Tamino, possessing exactly melodious tone that Mozart’s music calls for."

"...A dashing, clear-voiced presence." 

LA WEEKLY

LOS ANGELES DAILY NEWS

 

THE MAGIC FLUTE/LOS ANGELES OPERA 

DIE ENTFUHRUNG AUS DEM SERAIL

BELMONTE | GLYNDEBOURNE OPERA TOUR

"Ben Bliss makes a tremendous Glyndebourne debut as her beau...whose beautiful tones are particularly showcased in a tender O wie angstlich."

THE REVIEWS HUB

"(Bliss) has the perfect voice for his exquisite music. Mr Bliss is a real find and worth the price of the ticket just to hear his voice."

"A lyric tenor of considerable beauty and sensitivity... His third-act duet with Konstanze was quite ravishing of tone."

SEEN AND HEARD INTERNATIONAL

WOLFIEWOLFGANG.COM

BELMONTE | THE METROPOLITAN OPERA

"...The marvelous Ben Bliss—a true Mozart tenor.  ...Bliss sang with a purity of tone, eloquent phrasing, and superb breath control. He was believably ardent and anguished, and he did full justice to all of his arias, including the very challenging “Ich baue ganz.” He also acted extremely well – loving to Konstanze, suitably arrogant with Pedrillo (who had been his servant) and dignified in the last act confrontation...  I am very much looking forward to his Tamino with the Met next season."

OPERACRITIC.COM

 
 

ABDUCTION FROM THE SERAGLIO/ATLANTA OPERA 

Summer Recital Series in central park & brooklyn bridge park 

THE METROPOLITAN OPERA

"The tenor Ben Bliss offered a passionate rendition of “Lunge da lei,” from Verdi’s “Traviata,” and beautifully sung interpretations of selections from Mozart’s “Così Fan Tutte” and “The Abduction From the Seraglio,” as well as a delicately shaded and moving performance of an aria from Karl Goldmark’s “Queen of Sheba.” Mr. Bliss partnered with the sonorous-voiced baritone Alexey Lavrov for “Au fond du temple saint,” from Bizet’s “The Pearl Fishers.”"

NEW YORK TIMES

 

FEATURES

Read pieces written about Mr. Bliss.

September 14, 2019

June 2015

February 18, 2016

March 2015