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. 

In the 2020-2021 season, Mr. Bliss will return to the Metropolitan Opera to sing Don Ottavio in Don Giovanni, conducted by Yannick Nézet-Séguin, and also reprise this role at the Gran Teatre del Liceu in Barcelona. Finally, he will make his house debut at Opernhaus Zürich as Flamand in Capriccio. On the concert stage, he will sing Handel’s Messiah at the United States Naval Academy, as well as Bach’s Christmas Oratorio with the Handel & Haydn Society in Boston.

In the 2019-2020 season, Mr. Bliss returned to the Metropolitan Opera as Ferrando in Così fan tutte, conducted by Harry Bicket, and made his debut at Lyric Opera of Chicago as Don Ottavio. He also sang Tom Rakewell in The Rake’s Progress at The Glyndebourne Festival and Belmonte in Die Entführung aus dem Serail at his hometown Lyric Opera of Kansas City. In concert, he sang Handel’s Messiah in debuts with the San Francisco Symphony under Michael Tilson Thomas and St. Paul Chamber Orchestra. He also sang Carmina Burana for his debut with the Chicago Symphony Orchestra, conducted by Alain Altinoglu, Beethoven’s Missa Solemnis with the Atlanta Symphony Orchestra, featuring performances both in Atlanta and New York City at Carnegie Hall, Bernstein’s Songfest with the Seattle Symphony, and Steuermann in Der fliegende Holländer, again with the San Francisco Symphony.

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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

More Reviews

“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)