Ben Bliss



American tenor Ben Bliss, whom the New York Classical Review called “one of the leading Mozartian tenors,” has gained a reputation as one of the most valuable and versatile performers of his generation. The 2019-2020 season features a return to the Metropolitan Opera as Ferrando in Così fan tutte, conducted by Harry Bicket, Don Ottavio in Don Giovanni for his debut at the Lyric Opera of Chicago, Tom Rakewell in Britten’s The Rakes Progress with The Glyndebourne Festival and Belmonte in Die Entführung aus dem Serail at Lyric Opera of Kansas City, his hometown. Concert appearances include a debut with the San Francisco Symphony and Michael Tilson Thomas singing Steuermann in Wagner’s Der Fliegende Holländer, the Chicago Symphony Orchestra singing Orff’s Carmina Burana, conducted by Alain Altinoglu, Beethoven’s Missa Solemnis with The Atlanta Symphony with performances in both Atlanta and in New York City at Carnegie Hall, Bernstein’s Songfest with the Seattle Symphony and Handel’s Messiah with the St. Paul Chamber Orchestra.

The 2018-2019 season brought Ben Bliss back to the Metropolitan Opera as Tamino in The Magic Flute, as well as a debut with Canadian Opera Company as Ferrando, role and house debuts with Houston Grand Opera as Don OttavioPeter Quint in Britten’s The Turn of the Screw with Seattle Opera, and a return to Santa Fe Opera as Ferrando. Orchestral and recital appearances included a return to the New York Philharmonic for Mozart’s Requiem with Manfred Honeck as well as a crossover concert with Bramwell Tovey in Vail, Colorado; concerts in the NYC Parks with the Metropolitan Opera, and a solo recital at Messiah College in Pennsylvania with pianist Lachlan Glen.

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

Anthony Tommasini

New York Times

“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.”

David Salazar


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

George Grella

New York Classical Review

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“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. “

Anthony Tommasini, New York Times

“…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.”

Arlene Judith Klotzko,

“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.”

Zoë Madonna, Boston Globe

“[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.’ “

David Wright, New York Classical Review

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

George Grella, New York Classical Review

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

Anthony Tommasini, New York Times

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.”

Erik Flaten, Schmopera

“Ben Bliss— physically a boy-next-door type—acted and sang the best Tom I’ve encountered, his airy tenor giving welcome attention to verbal shadings and the role’s many curlicues.”

(Boston Lyric Opera – Rakes Progress 2017)

– David Shengold, Opera Magazine (UK)