BENedict Nelson

Baritone

 

 
 
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BIOGRAPHY

British baritone Benedict Nelson enjoys a busy international career with recent highlights including performances of Britten’s Gloriana at Teatro Real de Mardid in Madrid and Carmina Burana by Orff with the Gulbenkian Orchestra in Lisbon.

A Harewood Artist at English National Opera, he performed roles including Valentin Faust, Demetrius A Midsummer Night’s Dream Count Barbiere di Siviglia, Belcore L'elisir d'amore and the title role Billy Budd. In addition, he is an established presence on the continent with roles at Opera de Lyon, Teatro Regio in Turin, Opera Nantes. In concert last season he returned to BBC Symphony Orchestra with Martyn Brabbins, performed Vaughn Williams' Sea Symphony with Bournemouth Symphony Orchestra, made his Hallé debut in Belshazzar’s Feast and performed 8 songs for a Mad King by Maxwell-Davies at the Berlioz Festival with Aurora Orchestra. Nelson has a passion for contemporary music reflected by recent projects including Gerald Barry’s Importance of Being Earnest at the Royal Opera House, The Barbican Centre and Lincoln Center and At Sixes and Sevens by Mark- Anthony Turnage, and most recently Donnacha Dennehy’s Fedora prize winning opera The Second Violinist which premiered at the Galway International Arts Festival and comes to Barbican and New York in 2018/19.

His long-established relationship with Scottish Opera continues next season with performances of The Burning Fiery Furnace for the Lammermuir Festival and the new work Athropocene which will be performed at the Barbican and the Linbury Studio Theatre at Royal Opera House. Nelson is a keen proponent of contemporary work and will be perform a new commission with London Sinfonietta in December.

Full biographies are available in: EN

Repertoire: 18/19

REPRESENTATION: WORLDWIDE

CONTACT: CATRIONA BELL | CATRIONA@CLBMANAGEMENT.CO.UK

HTTP://WWW.BENEDICTNELSON.CO.UK

A hugely talented baritone with a smoothly elegant mahogany timbre, complemented by an intense and reflective musicality.
— Rupert Christiansen, The Telegraph
 
 

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