Aveline Kirana
Renowned tenor Benjamin Bernheim is set to grace the New York City stage once again, captivating audiences with a solo recital on April 21st at the prestigious Alice Tully Hall. This highly anticipated performance marks Bernheim’s return to the Big Apple following his memorable engagement in the September 2024 production of Offenbach’s "Les Contes d’Hoffmann." For this intimate evening of vocal artistry, Bernheim will be joined by his long-time musical collaborator, pianist Carrie-Ann Matheson. The program promises a diverse and rich tapestry of works, featuring compositions by esteemed composers Henri Duparc, Pyotr Ilyich Tchaikovsky, Georges Bizet, Charles Gounod, Gaetano Donizetti, Ildebrando Pizzetti, Giacomo Puccini, Charles Trenet, Joseph Kosma, and Jacques Brel. This recital is part of a broader tour that has already seen successful performances in Washington D.C., Princeton, and Saint-Guillaume.
The upcoming New York performance holds particular significance for Bernheim, as it represents his debut solo recital in the city that has witnessed some of his most impactful operatic appearances. Bernheim, whose career has taken him to the world’s most hallowed opera houses including the Opéra national de Paris, Théâtre des Champs-Élysées, Wiener Staatsoper, Opernhaus Zürich, Staatsoper Berlin, Teatro alla Scala, and the Royal Opera House in London, shared his profound connection to New York and his excitement for this new artistic endeavor in an exclusive interview with OperaWire. He also provided insights into his upcoming projects, notably his participation in a Verdi Requiem tour under the baton of maestro Daniele Gatti, alongside a constellation of operatic stars.
A Debut Recital in the Heart of Artistic Innovation
For Benjamin Bernheim, the prospect of his New York City recital debut is imbued with deep personal and artistic meaning. "First of all, I love New York and I’ve had a great time in this amazing city over the past years," Bernheim stated. "There were some very special debuts at the Met that truly marked me artistically, but there is also something in New York that is like no other place in the world: the energy and the intensity of this city makes one feel like they are in the center of the world." He further elaborated on the unique allure of the city, describing it as "the meeting point of every performing artform imaginable!" This sentiment underscores the profound connection Bernheim feels with New York’s vibrant cultural landscape and the immense anticipation he holds for engaging with its discerning audience in a more personal, unadorned format. The choice of Alice Tully Hall, a venue renowned for its exceptional acoustics and intimate atmosphere, further enhances the significance of this debut, providing an ideal setting for the nuanced expression of the recital program.
A Curated Journey Through Melodies and Arias
The recital program itself has been meticulously crafted to offer a comprehensive and emotionally resonant experience for the audience. Bernheim and Matheson have deliberately avoided a singular genre focus, opting instead for a curated journey that bridges the worlds of intimate melodies and powerful operatic arias. "We wanted the program to bring as many colors and facets as possible for the audience," Bernheim explained. "A strictly melodies-and-lieder program would have missed that sense of ‘grandiose’ of the opera repertoire, and an only-opera-arias version would have left out the magic and intimacy that melodies and songs bring."
This thoughtful juxtaposition allows for a dynamic presentation, showcasing Bernheim’s versatility and interpretive depth across a spectrum of musical styles and emotional landscapes. The program includes works in French, Italian, and even a touch of Russian, reflecting the diverse influences that have shaped Bernheim’s artistic journey. A particularly poignant element of the program is the inclusion of three popular songs that were featured on Bernheim’s critically acclaimed album, "Douce France," released by Deutsche Grammophon. This inclusion speaks to Bernheim’s broader artistic vision, which aims to reconnect audiences with the inherent beauty and simplicity of voice and music. "I know it’s a daunting task today, but I hope that we all fight to bring back the simplicity of the music and voice as something that inspires people in its own right," he remarked, highlighting a commitment to preserving the core essence of vocal performance.
The Evolution of a Program: Insights from the Road
The journey of this recital program has been a gradual and enriching one, with previous performances in Princeton, Washington D.C., and Saint-Guillaume providing valuable feedback and shaping its final form. Each location offered a distinct context and audience, contributing to the program’s evolving narrative. Bernheim reflected on these experiences, noting the unique character of each venue. Princeton, for instance, offered a setting that blurred the lines between academic intellectualism and artistic expression: "Singing in the beautiful hall where scholars give lectures felt like I was singing at the crossroads between the world of science and the world of the arts."
The Washington D.C. performance, while memorable, encountered a minor logistical challenge: "Washington D.C. was a bit more chaotic due to the last minute change of venue, so I hope to come back in the future to meet the audience again in a more peaceful setting." In contrast, the performance at the Saint-Guillaume church in Strasbourg, organized by the company Passions Croisées, proved to be a particularly rewarding discovery. Bernheim praised the organization’s dedication to artistic diversity, highlighting their performances of full operas with organ and clavecin, recitals with incredible artists, and symphonies with choir and orchestras. "Performing there with Carrie-Ann was pure joy," he concluded, underscoring the collaborative spirit that infuses these performances. These cumulative experiences have not only refined the program’s structure and pacing but have also deepened Bernheim’s connection to the repertoire, preparing him to deliver a polished and deeply felt performance in New York.
A Symbiotic Partnership: Bernheim and Matheson
The enduring musical partnership between Benjamin Bernheim and Carrie-Ann Matheson is a cornerstone of his artistic development and success. Their collaboration, which began twelve years ago in Zurich, is characterized by a profound mutual respect, trust, and a shared artistic vision. "Carrie-Ann and I met in Zurich 12 years ago," Bernheim recalled. "I was beginning my last year in the ensemble at the Opernhaus Zürich when we all heard that a new vocal coach and pianist was coming from the Met." Their initial encounter was marked by a humorous clash of communication styles, a testament to their differing cultural backgrounds: "The first contact was hilarious because we both realized that her coming from North America and me being European had totally opposite ways of communicating and working." However, this difference, rather than creating a barrier, became a significant strength, fostering a "trusting collaboration along the years."
Matheson has played an instrumental role in shaping Bernheim’s career, preparing him for pivotal role debuts, including his first Rodolfo in "La Bohème" and his first Lenski in "Eugene Onegin." Their artistic journey together has since expanded to encompass numerous recitals and the recording of their collaborative album, "Douce France." The intimacy and freedom inherent in their musical dialogue are paramount to Bernheim’s artistic growth. "I truly love making music with her for many reasons, but one of the most intimate ones is that I feel allowed to make mistakes, musically and vocally," he shared. "It is a level of trust and freedom that isn’t found everywhere – and I think it has made us both evolve and grow significantly over the past years." This unique dynamic allows Bernheim to explore the full expressive potential of his voice and interpretative abilities, creating a space for genuine artistic vulnerability and profound musical connection.
The Profound Resonance of Verdi’s Requiem
Looking beyond the recital stage, Benjamin Bernheim is poised to embark on a significant Verdi Requiem tour with the Sächsische Staatskapelle Dresden, under the formidable leadership of conductor Daniele Gatti. The ensemble of soloists includes internationally acclaimed artists Elīna Garanča, Eleonora Buratto, and Riccardo Zanellato. For Bernheim, the Verdi Requiem is a work that resonates deeply on multiple levels – personally, artistically, and musically. He made his debut in this monumental piece years ago with Sir Antonio Pappano in London, and since then, its power and emotional depth have continued to mature within his voice and his understanding.
"The Requiem to me is so many things at once: a prayer and a music of high intensity that is really spectacular," Bernheim described. The opportunity to perform the iconic "Ingemisco" section is, for him, a profound honor. However, he also emphasizes the significant responsibility that accompanies such a performance. "More than anything, it’s also a responsibility – to sing of someone’s memory, of someone’s passing. It’s another kind of storytelling that goes even deeper somehow." This profound sense of purpose imbues Bernheim’s interpretation with a gravitas and sincerity that are essential to conveying the spiritual and emotional weight of Verdi’s masterpiece. The collaborative aspect of this tour is also a source of great excitement for Bernheim, who expresses admiration for his fellow performers. He eagerly anticipates his first stage collaboration with Elīna Garanča, describing her as "very inspiring." His previous experiences with Eleonora Buratto, with whom he sang two "Bohèmes" prior to the pandemic, have been highly positive, and they have future projects planned. He also shares a history with Riccardo Zanellato and conductor Daniele Gatti from his time at the Zurich Opera. This reunion with familiar colleagues, alongside the introduction to new artistic partners, promises to create a powerful and cohesive musical force on the European concert circuit.
Charting a Course for Future Artistic Exploration
As Benjamin Bernheim looks towards the upcoming seasons, his artistic trajectory is marked by ambitious role debuts and a continued exploration of new performance avenues. The 2026-27 season is poised to be a particularly significant period, featuring the long-awaited debuts in two iconic operatic roles: Cavaradossi in Puccini’s "Tosca" at the Staatsoper Unter den Linden in Berlin, and Don José in Bizet’s "Carmen" at the Bayerische Staatsoper in Munich. These roles represent not only significant vocal and dramatic challenges but also deeply personal artistic milestones. Bernheim speaks of these scores as constant companions, occupying his thoughts and driving his artistic preparation: "These are two roles, two musical scores, that are traveling with me everywhere and keeping me awake a lot while their music gets engraved in my mind and memory!"
Beyond these pivotal operatic engagements, Bernheim’s schedule is punctuated by a series of exciting concert engagements in new and familiar venues across Europe and the United States. He is slated to perform in Helsinki, Gstaad, and Bremen, marking his debut at Carnegie Hall in New York in the fall. Additional concerts include a return to Monte Carlo for a concert version of "Carmen" and a significant project with orchestra in Rome. He also hints at the possibility of adding a third major role to his repertoire during the summer months. Bernheim’s enthusiasm for these diverse projects is palpable, with a particular emphasis on the new roles: "It’s a new facet of my voice and temperament that I’m exploring." This forward-looking perspective underscores his commitment to continuous artistic growth and his dedication to expanding the boundaries of his expressive capabilities.
A Farewell to Masks, an Embrace of Authenticity
As Benjamin Bernheim prepares to step onto the stage at Alice Tully Hall for his New York recital debut, his final thoughts convey a profound appreciation for the opportunity to connect with the audience in a more direct and unvarnished manner. "I truly am happy and looking forward to meet the audience in New York in a context that will allow me to present a fuller version of me as an artist," he expressed. He articulated a desire to shed the artifice often associated with operatic performance, stating, "No costume, no set, no wigs – no ‘opera singer.’ Just me." This emphasis on authenticity highlights his belief in the inherent power of the human voice and the profound impact of intimate live performance. Bernheim acknowledges the inherent courage required for a solo vocal recital, but his conviction in the art form and the magic of live, intimate performance remains unwavering. "Bringing a solo recital for a vocalist requires courage, but I believe in our artform and I believe in the magic of live, intimate performance. So see you soon, New York!" This heartfelt sentiment sets the stage for an evening of exceptional artistry, where Benjamin Bernheim aims to connect with his New York audience on a deeply personal and profoundly musical level.
