Sophie Bevan


The recipient of the Young Singer award at the inaugural 2013 International Opera Awards. Sophie Bevan is now at the forefront of the new generation of young British singers.

A graduate of the Benjamin Britten International Opera School, she was awarded the Queen Mother Rose Bowl Award. Her concert repertoire ranges from Handel to James Macmillan and she has worked with conductors that include Sir Antonio Pappano, Edward Gardner, Laurence Cummings, Harry Bicket, Sir Neville Marriner, Phillipe Herreweghe, Sir Mark Elder, Ryan Wigglesworth, Daniel Harding and Sir Charles Mackerras.   Already highly accomplished on the operatic stage, her engagements include her first Sophie in Der Rosenkavalier for English National Opera; the title role in The Cunning Little Vixen for Welsh National Opera; her first Susana Le Nozze di Figaro for Garsington Opera; Michal Saul for Glyndebourne Festival Opera; Waldvogel Siegfried, Pamina and Ilia for the Royal Opera House, Covent Garden, Susana and Antigone Oedipe at Covent Garden; concerts with the Sao Paulo State Symphony, CBSO, and recitals at the Wigmore Hall; Pamina for the Teatro Real, Madrid; her debut at the Salzburg Festival as Beatrice in the world première of Thomas Adès’ The Exterminating Angel;

Engagements this season and beyond include concerts with the Bayerische Rundfunk, Gulbenkian Orchestra, the Hallé and the CBSO. She will return to Covent Garden as Sophie in a new production of Der Rosenkavalier and as Beatriz in The Exterminating Angel. She will also create the role of Hermione in the world premiere of Ryan Wigglesworth’s A Winter’s Tale for ENO and will sing Tytania A Midsummer Night’s Dream for Aldeburgh Music. Further future engagements include a return to Teatro Real, Madrid and her debut at the Metropolitan Opera, New York.
Sophie is also the recipient of the 2010 Critics' Circle award for Exceptional Young Talent, The Times Breakthrough Award at the 2012 South Bank Sky Arts Awards and the Young Singer award at the 2013 inaugural International Opera Awards.

This is for information only and should not be reproduced. Please contact Sophie Robertson for a full biography and for performance details.

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News & Features


St Matthew Passion
St John Passion
B Minor Mass

L'enfance du Christ
Les nuits d'été


Pirates of Penzance (Mabel)
The Mikado (Yum Yum)

Aci, Galatea e Polifemo
Radamisto (Polissena)
Israel in Egypt

Nelson Mass


A Midsummer Night's Dream

L'Incoronazione di Poppea (Poppea)

Le nozze di Figaro (Susanna)
Die Zauberfloete (Pamina)
Cosi fan tutte (Despina)
Coronation Mass
C Minor Mass
Exsultate Jubilate

Boris Godunov (Xenia)

Carmina Burana

Stabat Mater

Dido and Aeneas (Dido)

Castor&Pollux (Télaïre) 

Stabat Mater

Sollemnitas in Conceptione Immaculata

Serenade to Music

L'Incoronazione di Dario (Alinda)

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The Apostles

Edinburgh International Festival

'...Sophie Bevan a seraphic Gabriel...' Rupert Christiansen, The Telegraph, 15 August 2016


The Exterminating Angel

Salzburg Festival

'The tender suicide-pact duet sung by the young lovers Eduardo and Beatriz (Ed Lyon and Sophie Bevan) is another of the many potent highlights. ' Fiona Maddocks, The Guardian, 31 July 2016
'The music becomes the backdrop for some playful banter between Eduardo and Beatriz, a young engaged couple (Ed Lyon, a charismatic tenor, and Sophie Bevan, an alluring soprano)...' Anthony Tommasini, New York Times, 29 July 2016
'The most stirring are Ed Lyon and Sophie Bevan, the couple who choose extinction over extermination, and Ades awards them a solemn, radiant duet.' Neil Fisher, The Times, 1 August 2016
'Um sie singen sich ...Sophie Bevan... begeisternd und auf der Höhe der enormen Anforderungen die Seelen aus dem Leib.' Heinz Sichrovsky, News, 29 July 2016
'The vocal writing is tailor-made for the 22 top-drawer soloists…this is athletic, demanding music which is performed with polish and flair.' Shirley Apthorp, The Financial Times, 29 July 2016



Royal Opera House

'In the final part, the blinded hero is led by his loyal daughter Antigone, movingly portrayed by Sophie Bevan...' Clare Colvin, The Express, 31 May 2016
'...Sophie Bevan’s beautifully sung and beautiful-of-heart Antigone...' Mark Berry, Seen and Heard, 28 May 2016
'...Sophie Bevan injected some welcome sweetness and delicacy as Antigone.'
Sophie Bevan injected some welcome sweetness and delicacy as Antigone. - See more at:
Sophie Bevan injected some welcome sweetness and delicacy as Antigone. - See more at:
Sophie Bevan injected some welcome sweetness and delicacy as Antigone. - See more at:
Sophie Bevan injected some welcome sweetness and delicacy as Antigone. - See more at:
Sophie Bevan injected some welcome sweetness and delicacy as Antigone. - See more at:
Claire Seymour, Opera Today, 25 May 2016
' Sophie Bevan’s tender Antigone...' Fiona Maddocks, The Guardian, 29 May 2016
'...Antigone (sweetly sung by Sophie Bevan)...' Cara Chanteau, The Independent, 24 May 2016
'... Sophie Bevan a touchingly faithful Antigone.' Andrew Clements, The Guardian, 24 May 2016
'Sophie Bevan sang radiantly as Antigone and was all the more affecting for being a rare figure of hope here.' John Allison, Opera, August 2016
'...Sophie Bevan's vocally graceful Antigone.' George Hall, Opera News, July 2016

Dunedin Consort

UK tour

It’s an evening essentially designed to showcase Bevan’s splendid voice, which it does, but the band provides the right style and personality for her to spark against. There’s something brilliantly robust and natural about her singing: no artifice, no fuss, a healthy wit, a refreshing kind of virtuosity that’s grounded and almost casual but still totally dazzling. Her voice is bigger and richer than we’re used to hearing with the Dunedins, but it works. In Bach’s cantata Falsche Welt (False World) she entered full-throttle with images of snakes and scorpions then gave beaming confidence to the effusive line: “God is faithful.” In Handel’s early cantata Alpestre Monte she was all ardent anguish in the aria Almen Dopo il Fato Mio. In his 1706 Gloria setting – lost for centuries but unearthed in 2001 at the Royal Academy of Music library – she brought a hint of cheek to the lavish repetitions of Laudamus te (“We praise you”). Kate Molleson, The Guardian, 24th February 2016


Turn of the Screw

Snape Maltings and LSO St Luke's

"...exquisite tone-colours from Sophie Bevan as the Governess, at once traumatised and full of compassion..." Rian Evans, The Guardian, 27 October 2015
'Sophie Bevan expressed the Governess's dubious hoold on reality with an eerie control of colour and moments of chilling power...' Peter Reed, Opera Magazine, January 2016

Handel in Italy, Vol.1

Signum Classics dazzlingly sung by Sophie Bevan. Nicholas Kenyon, The Guardian, 9th August 2015 opens an enjoyable showcase...Sophie sings it peachily, with a richer-sounding soprano than previous recorded exponents. Hugh Canning, The Sunday Times, 16th August 2015



Glyndebourne Festival Opera

"Musically this evening is well-nigh flawless. No praise too high for the singing of...Sophie Bevan as...Michal" Michael Church, The Independent, 24 July 2015
"Superb singing from Iestyn Davies (David), Sophie Bevan (Michal) and Lucy Crowe (Merab)..." Barry Millington, London Evening Standard, 24 July 2015
"It is virtuoso stagecraft, given point and pathos by the performances that Kosky gets from the protagonists... Sophie Bevan...the daughter...Michal" Andrew Clements, The Guardian, 24 July 2015
"Magnificent performances have been drawn from the entire cast... On the distaff, Lucy Crowe and Sophie Bevan vie in singing of Golden Age charm and accomplishment as the rivalrous sisters – Crowe’s Merab is all acid and venom, Bevan’s Michal all sugar and spice". Rupert Christiansen, The Telegraph, 24 July 2015
"Sophie Bevan and Lucy Crowe supply radiant tone and contrasting characterisations as the sisters Michal and Merab". Richard Morrison, The Times, 25 July 2015
"Lucy Crowe and Sophie Bevan offer sopranos of contrasting timbres but equal beauty as Saul’s daughters Merab and Michal". Laura Battle, Financial Times, 26 July 2015



Royal Opera House, Covent Garden

...Sophie Bevan sings sweetly as an Ilia... Richard Morrison, The Times, 4th November 2014
...Sophie Bevan’s sumptuous Ilia... Laura Battle, Financial Times, 4th November 2014
...Sophie Bevan’s stylish, limpid singing. John Allison, The Telegraph, 4th November 2014
...Sophie Bevan's radiant Ilia (star potential here)... Hugh Canning, The Sunday Times, 9th November 2014
No praise can be too high for Sophie Bevan’s radiant, nuanced Ilia... Barry Millington, Evening Standard, 5th November 2014
...the sweet singing of Sophie Bevan’s Ilia (“Zeffiretti Lusinghieri” is a highlight... Alexandra Coghlan, New Statesman, 7th November 2014
...Sophie Bevan’s Trojan princess Ilia, in love with Idamante, are both in glorious voice. Clare Colvin, Express, 9th November 2014
The singing was mostly excellent. Sophie Bevan, as the Trojan princess Ilia, dominates the opera’s opening and then hardly appears again. Her words were notably clear (not always the case elsewhere), emotions potently expressed, voice warm and pliant. Fiona Maddocks, The Observer, 9th November 2014
...Sophie Bevan, as his true love Ilia, has a perfect voice for Mozart, combining clarity and emotion to show both strength and vulnerability. William Hartston, Express, 8th November 2014
...exquisite lyric singing...'Zeffiretti lusinghieri' was exemplary. Russ McDonald, Opera, January 2015

R. Strauss

Der Rosenkavalier

Boston Symphony Orchesta/Nelsons at the Tanglewood Festival

[The] roles were taken, in the concluding trio, by established professionals: the sopranos Angela Denoke (the Marschallin) and Sophie Bevan (Sophie) and the mezzo-soprano Isabel Leonard (Octavian). Ms. Denoke sang with fine keeping with the plight of her character. Ms. Leonard was strong and alluring, Ms. Bevan pure and sweet. James R. Oestreich, New York Times, 13 July 2014
Mezzo-soprano Isabel Leonard brought her smooth, amber-toned voice to the role of Octavian. In the love duet between the prince and Sophie, her phrases took on a soft, feathery quality without losing their body. Soprano Sophie Bevan, as Octavian’s love interest, sang beautiful arching lines to mesh with Leonard’s phrases. Angela Denoke brought a touch of heartbreak to the role of the Marschallin, singing with a smooth, milky soprano. Aaron Keebaugh, Boston Classical Review, 13 July 2014


The Pearl Fishers

English National Opera

...she left us wondering how much more radiant her heartfelt singing could get... Erica Jeal, The Guardian, 17th June 2014
...sings with appealing purity. ENO has vocal pearl... John Allison, The Telegraph, 21st June 2014
Sophie Bevan was in radiant voice as Leila the Hindu priestess... Clare Colvin, Sunday Express, 22nd June 2014


Der Rosenkavalier

City of Birmingham Symphony Orchestra/Nelsons

The golden voice of Sophie Bevan, born to sing young Sophie von Faninal, confirmed the stellar nature of an evening that brought both laughter and misty eyes – an acid test for this opera. Rian Evans, The Guardian, 26th May 2014


La gazza ladra

Oper Frankfurt

...Sophie Bevan's pretty, silver-voiced Ninetta... Hugh Canning, Opera, July 2014



Barbican, London

...Sophie Bevan was the sensual Iphis... Tim Ashley, The Guardian, 16th January 2014


Christmas Oratorio

Canongate Kirk, Edinburgh

Meanwhile, the four soloists each brought something special and different to the piece...plaintive soprano Sophie Bevan was a ball of emotion... Kelly Apter, The Scotsman, 4th December 2013


Acis & Galatea

Wigmore Hall

The soprano Sophie Bevan sounded gorgeous, using the resonance to her advantage. She deployed her agile, soft-grained voice in a way that subtly showed off the music's sensuous side; there's no mistaking the nature of the love the librettists were writing about. The audience warmed to her immediately... Erica Jeal, The Guardian, 28th November 2013
Sophie Bevan's Galatea – suffering sea nymph – was pure, reverential and plangent, a performance of consummate musicianship. Kate Kellaway, The Observer, 1st December 2013



Bath Abbey

A stellar cast of soloists included...soprano Sophie Bevan, as his daughter Iphis, singing Farewell, with great desolation.This is a seminal moment in the oratorio, and both singers invested it with consummate musicianship.
Bath Chronicle, 11th November 2013
But the most touching singing came from Sophie Bevan as Iphis: her beguiling soprano had an instrumental clarity as well as a newly blossoming richness of tone, discerningly used in Iphis's expressions of joy and finally of martyred resignation. Rian Evans, The Guardian, 11th November 2013


Les illuminations

Aldeburgh Festival, Snape Maltings Concert Hall

...but its high point was Britten's own Les Illuminations. Soprano Sophie Bevan brought ravishing vocal colours and a strong interpretive sensibility to the cycle, with both nonchalance and perceptiveness in equal measure. Rian Evans, The Guardian, 9th June 2013
Later, there was more gorgeous ­singing from the young soprano of the moment, Sophie Bevan, of Britten’s Les Illuminations... Hugh Canning, The Sunday Times, 16th June 2013


Die Zauberflöte

Royal Opera House, Covent Garden

 This, too, was near-perfection...The opening chord of the Overture, solid, solemn, carefully weighted, led to a wonderfully detailed account not only of this slightly academic orchestral piece but of the whole sublime masterpiece too...The new hero and heroine, Andrew Staples and Sophie Bevan, are already admirable as Tamino and Pamina. Michael Tanner, The Spectator, May 2013
At this second of three end-of-run performances, Sophie Bevan (Young Singer of the Year at the International Opera Awards) stole the limelight with her rich-toned, sculpturally-phrased account of Pamina's great G minor aria, and a heart-stopping 'Tamino, mein!'. What a gorgeous timbre this young soprano has at her disposal; it seems to be getting bigger and juicier with every appearance... Bevan, whose star potential, on this showing, seems limitless. Hugh Canning, Opera, July 2013


St Matthew Passion

King's College, Cambridge

Sophie Bevan’s glowing soprano solos were equally strong... John Allison, The Telegraph, 2nd April 2013


Wigmore Hall

 Sophie Bevan is pure sunshine: like the legendary Elisabeth Schumann, she sings for joy, on a breeze: in Schubert’s Seligkeit, she seemed to be turning cartwheels...But what an enchanting performer she is – at her best here in Schubert’s meditative Das Marienbild and Barber’s gently purring The Monk and his Cat. Rupert Christiansen, The Telegraph, 19th March 2013


The Cunning Little Vixen

Welsh National Opera

As the vixen Bystrouska, soprano Sophie Bevan had a vibrant yet creamy tone; she was captivating in her foxy allure.

Rian Evans, The Guardian, 26th February 2013

Bevan sings the Vixen as beautifully as anyone I have heard...a charming fresh face...

Hugh Canning, The Sunday Times, 3rd March 2013
In the title role, Sophie Bevan was lithe and lissom, portraying the Vixen's development from a sassy young creature to the mother who risks all for her offspring. The voice was similarly flexible, creamy in tone and maximising the lyrical moments. Rian Evans, Opera, May 2013



Royal Opera House, Covent Garden

Sophie Bevan enchanted as an aerial Woodbird. Fiona Maddocks, The Observer, 7th October 2012
Among the smaller roles, Sophie Bevan's blithe Woodbird...stood out for expressivity and ease. Anna Picard, The Independent, 7th October 2012
Sophie Bevan chirped sweetly as the Woodbird while performing acrobatics on her trapeze... Richard Fairman, Financial Times, 5th October 2012


King Arthur

Usher Hall, Edinburgh International Festival

Best by far of the named soloists was soprano Sophie Bevan. Her delivery is refreshingly unfussy and her voice voluptuous and grainy, which complemented the Sixteen's silvery violins perfectly in The Fairest Isle. Kate Molleson, The Guardian, 29th August 2012


BBC Proms

Royal Albert Hall, London

The Halle submitted totally to the lushness of the music, and the singers, Bevan especially, who has a wonderfully rich soprano with contralto elements and beautiful purity at the very top... Michael Coveney, What's On Stage, 10th August 2012


Don Giovanni

Garsington Opera

Sophie Bevan’s sexy, predatory Elvira sings her heart out. Andrew Clark, Financial Times, 9th June 2012



Handel at Vauxhall, Vol. 1

Soprano: Sophie Bevan
Soprano: Eleanor Dennis
Sopran: Kirsty Hopkins
Tenor: Charles MacDougall
Tenor: Greg Tassell
Baritone: Benjamin Bevan
Organ: Daniel Moult

London Early Opera
Bridget Cunningham (director)
Signum Classics

Mendelssohn in Birmingham Vol.3

Meeresstille und gluckliche Fahrt, Op. 27
Symphony No. 2, Op. 52 'Hymn of Praise'

Sophie Bevan soprano I     
Mary Bevan soprano II     
Benjamin Hulett tenor     
CBSO Chorus
City of Birmingham Symphony Orchestra
Edward Gardner

A Song More Silent: New Works for Remembrance


Musicians: Michael Chance, countertenor
Carolyn Dobbin, mezzo-soprano
Alexandra Stevenson, Sophie Bevan, sopranos
Ben Johnson, tenor
Dawid Kimberg, baritone
Sebastian Comberti, cello
Paul Archibald, trumpet
Nicolae Moldoveanu, conductor
London Mozart Players 

Catalogue # AV2147
Avie Records