Sophie Bevan

Future highlights include appearances at the BBC Proms and the Edinburgh International Festival, returns to the Garsington Opera and the Teatro Real Madrid, her first Mélisande and her debut at the Metropolitan Opera, New York.

© Sussie Ahlburg


Sophie was 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.

Conductors she works with include Sir Antonio Pappano, Daniel Harding, Andris Nelsons, Edward Gardner, Laurence Cummings, Sir Mark Elder, Ivor Bolton and Mirga Gražinytė-Tyla.

Her operatic roles include Ilia Idomeneo, title role The Cunning Little Vixen, Sophie Der Rosenkavalier, Susanna Le nozze di Figaro, Governess The Turn of the Screw and Pamina. She made her debut at Glyndebourne Festival Opera as Michal Saul,  at Teatro Real, Madrid as Pamina and at the Salzburg Festival as Beatriz in Thomas Adès’ The Exterminating Angel.


Video & Audio

Performance Schedule

  • 19:30 21 Nov 2017 Metropolitan Opera Company, NEW YORK More info  

    THOMAS ADÈS The Exterminating Angel

    Conductor: Thomas Adès
    Director: Tom Cairns
    Leticia Maynar: Audrey Luna
    Lucia De Nobile: Amanda Echalaz
    Silvia De Ávila: Sally Matthews
    Beatriz: Sophie Bevan
    Leonora Palma: Alice Coote
    Blanca Delgado: Christine Rice
    Francisco De Ávila: Iestyn Davies
    Edmundo De Nobile: Joseph Kaiser
    Raúl Yebenes: Frédéric Antoun
    Eduardo: David Portillo
    Colonel Álvaro Gómez: David Adam Moore
    Alberto Roc: Rod Gilfry
    Señor Russell: Kevin Burdette
    Julio: Christian Van Horn
    Doctor Carlos Conde: John Tomlinson

  • 19:30 02 Dec 2017 Sheldonian Theatre, OXFORD More info  


    Conductor: Benjamin Nicholas
    Soprano: Sophie Bevan
    Baritone: Duncan Rock
    Orchestra: City of Birmingham Symphony Orchestra
    Choir: Oxford Bach Choir

  • 19:30 15 Jan 2018 Royal Festival Hall, LONDON More info  

    Conductor: Edward Gardner
    Soprano: Sophie Bevan
    Mezzo-soprano: Alice Coote
    Tenor: Toby Spence
    Bass: Brindley Sherratt
    : London Philharmonic Choir
    : London Philharmonic Orchestra

  • 19:00 22 Jan 2018 Middle Temple Hall, LONDON More info  

    Sophie: Sophie Bevan
    Piano: Julius Drake

From The Green Room


  • 26 Oct 17 ADES The Exterminating Angel
    Metropolitan Opera
    More info  

    “Sophie Bevan, an English soprano, and David Portillo, a tenor from San Antonio, are ardent in their duets as the engaged couple.”
    Wilborn Hampton, Huffington Post, 27 October 2017

    “Two tragic guests, in the face of unreality, seek solace together. Beatriz (the soprano Sophie Bevan) and Eduardo (the tenor David Portillo) are engaged and utterly absorbed in themselves.”
    Anthony Tommasini, The New York Times, 27 October 2017

    “When the soon-to-be spouses Beatrìz (a rich-voiced Sophie Bevan) and Eduardo (the shining tenor David Portillo) decide to end their torment apart from the rest of the company, they sing a sumptuous duet in their fatal embrace.”
    Eric C. Simpson, New York Classical Review, 27 October 2017

    “American premier has gleaming cast.”
    Paul J. Pelkonen, Berkshire Fine Arts, 01 November 2017

    “Adès does have moments of more traditional operatic structure, including a love duet between Eduardo and Beatriz, both portrayed with suave vocal nuance by David Portillo and Sophie Bevan…”
    David Salazar, Opera Wire, 4 November 2017

  • 05 Aug 17 Dunedin Consort
    Queen's Hall Edinburgh
    More info  

    “Sophie Bevan was an achingly plaintive dying Clorinda, the dramatic role more suited to the richness of her voice…”
    Carol Main, The Scotsman, 7 August 2017

  • 24 Jun 17 MOZART Idomeneo
    More info  

    “…Ilia’s ‘Quando avran fine omai’, which Sophie Bevan sang with a big peachy, lyric tone…She has close to the ideal Ilia voice, richer and fuller-toned than is customary today, yet there was delicacy in her intricate intertwining with the CBSO’s excellent wind soloists…”
    Hugh Canning, Opera Magazine, July 2017

  • 12 Jun 17 BRITTEN A Midsummer Night's Dream
    Snape Maltings Concert Hall, Aldeburgh Festival
    More info  

    “Bevan and Davies are ideally matched: her opulent, rosy soprano extending easily to Tytania’s sequinned coloratura…”
    Anna Picard, The Times, June 2017

    “Sophie Bevan’s rich lyric soprano…irresistibly gorgeous noises.”
    Rupert Christiansen, The Telegraph, June 2017

    “The stellar cast is a Dream-team blend of character and virtuosity you can imagine Britten would have loved. Iestyn Davies’s remote Oberon floods the Maltings with countertenor magic, matched by Sophie Bevan’s equally imperious Tytania…”
    Peter Reed, Classical Source, June 2017

    “But my, what a cast was there. Iestyn Davies and Sophie Bevan as Oberon and Tytania… we were spoilt royally.”
    Mark Valencia, What’s On Stage, June 2017

    “Sophie Bevan was his perfect foil, silvery glints to her soprano, but a much riper, sexier sound than most Tytanias.”
    Mark Pullinger, Bachtrack, June 2017

    “But, there was golden warmth, too, in the form of Sophie Bevan’s gloriously luscious soprano which had the density of bullion and the diamond-brightness of the stars. At the close of Act 1 when Tytania calls her elfin brood around her and reflects on the ‘clamorous owl’ that wonders at the ‘quaint spirits’, Bevan nailed the top C# with thrilling power, running down the octave with the elegance of Oberon’s melismatic charms.”
    Claire Seymour, Opera Today, 10 June 2017

  • 05 May 17 Perfido!
    Signum Classics
    More info  

    “It is a repertoire that makes considerable demands on its singer, not just because the technical demands of the aria are often considerable … but the accompanied recitatives call for considerable dramatic input. Sophie Bevan is highly successful on both counts, singing throughout with a gleaming tone and shaping lines with real sensitivity, but equally under the skin of the character she is portraying. ”
    Brian Robins, Early Music Today, June 2017

    “She is, of course, hugely experienced in the music of this period and brings a characteristically vivid intensity to each piece, tempered by an endearing touch of breathness in the voice.”

    David Treasher, Grammophone, July 2017

    “I simply can’t stop listening to this glorious collection of Classical scenas and concert arias from the young British soprano, caught here just as the youthful freshness of the voice begins to take on more dramatic qualities – the stormy final sections of the Haydn and Beethoven in particular suggest heavier roles to come. Taut, incisive accompaniments from Page’s Mozartists, too.”

    Katherine Cooper, Presto Classical, May 2017

    “They take Bevan into more dramatic territory than she has explored hitherto, with exciting results. Ah! perfido is powerfully propelled, Ah, lo previdi is the album’s highlight, pivoting on the emotional contrast between the vengeful first aria and the vulnerable, imploring cavatina, in which Bevan’s voice is winsomely tracked by the oboe of Rachel Chaplin.”

    Neil Fisher, The Times, 30 June 2017

  • 24 Apr 17 ADES The Exterminating Angel
    Royal Opera House
    More info  

    “Ed Lyon and Sophie Bevan also excel as a loved-up couple whose locked-in passion for each other is both their making and their breaking; their love-death scene is one of the few moments when Cairns and designer Hildegard Bechtler open out the production.”
    Mark Valencia, Whatsonstage, 25 April 2017

    “The duet for the young couple – Ed Lyon and Sophie Bevan – falls into the cadences of a lute song…”
    Erica Jeal, The Guardian, 25 April 2017

    “Sophie Bevan and Ed Lyon are a touching pair of lovers, Beatriz and Eduardo…”
    Claire Seymour, Opera Today, 25 April 2017

    “…sevaral gorgeous duets between Ed Lyon and Sophie Bevan as the doomed lovers Eduardo and Beatriz…”
    David Karlin, Bach Track, 25 April 2017

    “It’s a virtually flawless ensemble cast…Bevan and Ed Lyon as the young lovers are outstanding.”
    Jonathan Cross, Opera Magazine, July 2017

  • 27 Feb 17 WIGGLESWORTH The Winter's Tale
    English National Opera
    More info  

    “…Hermione (a radiant Sophie Bevan)…”
    Cara Chanteau, The Independent, 28 February 2017

    “Sophie Bevan is a radiant Hermione…”
    Richard Morrison, The Times, 28 February 2017

    “Another strong ENO cast is headed by Iain Paterson’s Wagnerian Leontes and the brilliantly innocent Hermione of Sophie Bevan.”
    Richard Fairman, Financial Times, 28 February 2017

    “…Hermione, gloriously sung and acted by Sophie Bevan…”
    Michael Tanner, Spectator, March 2017

  • 17 Dec 16 STRAUSS Der Rosenkavalier
    Royal Opera House
    More info  

    “…while Bevan’s Sophie was seraphic from the start…”
    Andrew Clements, The Guardian, 18 December 2016

    “A uniformly strong cast is headed by Bevan…”
    Barry Millington, Evening Standard, 19 December 2016

    “…Sophie Bevan’s affectingly-sung ‘Sophie’.”
    Michael Church, The Independent, 19 December 2016

    “To round off the female trio, the part of Sophie is played by Sophie Bevan, who just seems to be getting better and better. Always one of our most promising young singers, she has now developed a stronger and fruitier voice than I have heard before and it blends perfectly with Fleming and Coote particularly in the sensational trio towards the end of the opera.”
    The Express, 21 December 2016

    “…Act Two duet with Sophie Bevan’s radiant and assertive Sophie was Strauss heaven, and all three were finely matched in tone, volume and warmth for an incandescent Act Three ‘Trio’.”
    Peter Reed, Classical Source, 17 December 2016

    “Sophie Bevan played her namesake as a flighty girl who knows exactly what she wants. In the Presentation of the Rose, her terrific pianissimo on “Like heavenly, unearthly roses” was one of those moments when time stands still…”
    Mark Pullinger, Bach Track, 18 December 2016

    “Sophie Bevan plays her namesake as a spirited young woman… Her voice is simply magnificent, bright and clear, riding to the orchestra with ease, but also producing the softest tenderness. As a trio, Fleming, Coote and Bevan are heaven-made for their Act 3 appearance, their voices blended, their expression poignant.”
    Jonathan Cross, Opera Magazine, February 2017

  • 01 Sep 16 MOZART Zaide (CD)
    Signum Classics
    More info  

    “Sophie Bevan is a touching Zaide, who shapes ‘Ruhe sanft’, the opera’s hit number, most beautifully…”
    Brian Robins, Opera Magazine, January 2017

    “She has a dream start with Ruhe sanft but has two more arias in the second act where she is just as excellent and she graces three ensembles as well.”

    Göran Forsling, Music-Web International, 16 April 2017

  • 14 Aug 16 ELGAR The Apostles
    Edinburgh International Festival
    More info  

    “…Sophie Bevan a seraphic Gabriel…”
    Rupert Christiansen, The Telegraph, 15 August 2016

  • 29 Jul 16 ADES The Exterminating Angel
    Salzburg Festival
    More info  

    “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

    “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

  • 23 May 16 ENESCU Oedipe
    Royal Opera House
    More info  

    “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.”

    Bevan injected some welcome sweetness and delicacy as Antigone. – See
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    Bevan injected some welcome sweetness and delicacy as Antigone. – See
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    Bevan injected some welcome sweetness and delicacy as Antigone. – See
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    Bevan injected some welcome sweetness and delicacy as Antigone. – See
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    Bevan injected some welcome sweetness and delicacy as Antigone. – See
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    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

  • 23 Feb 16 Dunedin Consort
    UK tour
    More info  

    “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, 24 February 2016

  • 26 Oct 15 BRITTEN Turn of the Screw
    Snape Maltings and LSO St Luke's
    More info  

    “…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

  • 09 Aug 15 Handel in Italy, Vol.1
    Signum Classics
    More info  

    “…so dazzlingly sung by Sophie Bevan.”
    Nicholas Kenyon, The Guardian, 9 August 2015

    “…it opens an enjoyable showcase…Sophie sings it peachily, with a richer-sounding soprano than previous recorded exponents.”
    Hugh Canning, The Sunday Times, 16 August 2015

  • 23 Jul 15 HANDEL Saul
    Glyndebourne Festival Opera
    More info  

    “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

  • 03 Nov 14 MOZART Idomeneo
    Royal Opera House, Covent Garden
    More info  

    “…Sophie Bevan sings sweetly as an Ilia…”
    Richard Morrison, The Times, 4 November 2014

    “…Sophie Bevan’s sumptuous Ilia…”
    Laura Battle, Financial Times, 4 November 2014

    “…Sophie Bevan’s Ilia…supplies stylish, limpid singing.”
    John Allison, The Telegraph, 4 November 2014

    “…Sophie Bevan’s radiant Ilia (star potential here)…”
    Hugh Canning, The Sunday Times, 9 November 2014

    “No praise can be too high for Sophie Bevan’s radiant, nuanced Ilia…”
    Barry Millington, Evening Standard, 5 November 2014

    “…the sweet singing of Sophie Bevan’s Ilia (“Zeffiretti Lusinghieri” is a highlight…”
    Alexandra Coghlan, New Statesman, 7 November 2014

    “…Sophie Bevan’s Trojan princess Ilia, in love with Idamante, are both in glorious voice.”
    Clare Colvin, Express, 9 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, 9 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, 8 November 2014

    “…exquisite lyric singing…’Zeffiretti lusinghieri’ was exemplary.”
    Russ McDonald, Opera, January 2015

  • 14 Jul 14 STRAUSS Der Rosenkavalier
    Boston Symphony Orchesta/Nelsons at the Tanglewood Festival
    More info  

    “[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 sensibility…in 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

  • 16 Jun 14 BIZET The Pearl Fishers
    English National Opera
    More info  

    “…she left us wondering how much more radiant her heartfelt singing could get…”
    Erica Jeal, The Guardian, 17 June 2014

    “…sings with appealing purity. ENO has cast…one vocal pearl…”
    John Allison, The Telegraph, 21 June 2014

    “Sophie Bevan was in radiant voice as Leila the Hindu priestess…”
    Clare Colvin, Sunday Express, 22 June 2014

  • 24 May 14 STRAUSS Der Rosenkavalier
    City of Birmingham Symphony Orchestra/Nelsons
    More info  

    “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, 26 May 2014

  • 30 Mar 14 ROSSINI La gazza ladra
    Oper Frankfurt
    More info  

    “…Sophie Bevan’s pretty, silver-voiced Ninetta…”
    Hugh Canning, Opera, July 2014

  • 16 Jan 14 HANDEL Jephtha
    Barbican, London
    More info  

    “…Sophie Bevan was the sensual Iphis…”
    Tim Ashley, The Guardian, 16 January 2014

  • 03 Dec 13 BACH Christmas Oratorio
    Canongate Kirk, Edinburgh
    More info  

    “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, 4 December 2013

  • 27 Nov 13 HANDEL Acis & Galatea
    Wigmore Hall
    More info  

    “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, 28 November 2013

    “Sophie Bevan’s Galatea – suffering sea nymph – was pure, reverential and plangent, a performance of consummate musicianship.”
    Kate Kellaway, The Observer, 1 December 2013

  • 09 Nov 13 HANDEL Jephtha
    Bath Abbey
    More info  

    “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, 11 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, 11 November 2013

  • 08 Jun 13 BRITTEN Les illuminations
    Aldeburgh Festival, Snape Maltings Concert Hall
    More info  

    “…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, 9 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, 16 June 2013

  • 09 May 13 MOZART Die Zauberflöte
    Royal Opera House, Covent Garden
    More info  

    “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

  • 02 Apr 13 BACH St Matthew Passion
    King's College, Cambridge
    More info  

    “Sophie Bevan’s glowing soprano solos were equally strong…”
    John Allison, The Telegraph, 2 April 2013

  • 17 Mar 13 Recital
    Wigmore Hall
    More info  

    “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, 19 March 2013


  • 26 Feb 13 JANACEK The Cunning Little Vixen
    Welsh National Opera
    More info  

    “As the vixen Bystrouska, soprano Sophie Bevan had a vibrant yet creamy tone; she was captivating in her foxy allure.”
    Rian Evans, The Guardian, 26 February 2013

    “Bevan sings the Vixen as beautifully as anyone I have heard…a charming fresh face…”
    Hugh Canning, The Sunday Times, 3 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

  • 07 Oct 12 WAGNER Siegfried
    Royal Opera House, Covent Garden
    More info  

    “Sophie Bevan enchanted as an aerial Woodbird.”

    Fiona Maddocks, The Observer, 7 October 2012

    “Among the smaller roles, Sophie Bevan’s blithe Woodbird…stood out for expressivity and ease.”

    Anna Picard, The Independent, 7 October 2012

    “Sophie Bevan chirped sweetly as the Woodbird while performing acrobatics on her trapeze…”

    Richard Fairman, Financial Times, 5 October 2012

  • 29 Aug 12 PURCELL King Arthur
    Usher Hall, Edinburgh International Festival
    More info  

    “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, 29 August 2012

  • 10 Aug 12 NOVELLO BBC Proms
    Royal Albert Hall, London
    More info  

    “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, 10 August 2012

  • 20 Jun 12 MOZART Don Giovanni
    Garsington Opera
    More info  

    “Sophie Bevan’s sexy, predatory Elvira sings her heart out.”

    Andrew Clark, Financial Times, 9 June 2012


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)