LE NOZZE DI FIGARO, SCOTTISH OPERA, OCT 2016
Ben McAteer has blossomed since his time as a Scottish Opera Emerging Artist. Now singing lead roles, he displayed an ideally nuanced power. I anticipate he will be a part of the company's future over the coming years.
Scottish Daily Mail (Oct 2016)
Ben McAteer's Figaro is solid, both in voice and acting performance.
The Stage (Oct 2016)
Gravitas was finally achieved by Act IV in Figaro’s misogynistic aria “Aprite un po’ quegli occhi”, lit with almost gothic brilliance by a single white spotlight, and in Susanna’s “Deh vieni non tardar”. Indeed, Ben McAteer’s Figaro and, in particular, Anna Devin’s Susanna were the two stand-outs.
BachTrack (Oct 2016)
Scottish Daily Mail (Oct 2016)
Ben McAteer's Figaro is solid, both in voice and acting performance.
The Stage (Oct 2016)
Gravitas was finally achieved by Act IV in Figaro’s misogynistic aria “Aprite un po’ quegli occhi”, lit with almost gothic brilliance by a single white spotlight, and in Susanna’s “Deh vieni non tardar”. Indeed, Ben McAteer’s Figaro and, in particular, Anna Devin’s Susanna were the two stand-outs.
BachTrack (Oct 2016)
THE MIKADO, SCOTTISH OPERA, MAY-JUL 2016
But it was the three noble lords who came close to stealing the show...Ben McAteer's Pish-Tush was a comic masterclass, looking for all the world like a sub-Pythonesque colonial caricature, complete with pith helmet and cricket bat. But his voice is first rate
Scottish Daily Mail (May 2016)
Ben McAteer, fresh from Scottish Opera’s stunning recent new commission The Devil Inside, demonstrated that he could hold his own in a very different genre. Here he was an absurdly camp comic Pish-Tush who was considerably more funny than most absurdly camp comic turns usually are
Opera Britannia (May 2016)
Ben McAteer was a wonderfully camp Pish-Tush using semaphore to reveal his inner desires in “Our great Mikado‚ virtuous man”
BachTrack (May 2016)
Scottish Daily Mail (May 2016)
Ben McAteer, fresh from Scottish Opera’s stunning recent new commission The Devil Inside, demonstrated that he could hold his own in a very different genre. Here he was an absurdly camp comic Pish-Tush who was considerably more funny than most absurdly camp comic turns usually are
Opera Britannia (May 2016)
Ben McAteer was a wonderfully camp Pish-Tush using semaphore to reveal his inner desires in “Our great Mikado‚ virtuous man”
BachTrack (May 2016)
THE DEVIL INSIDE, SCOTTISH OPERA/MUSIC THEATRE WALES, JAN-MAR 2016
...the cast inhabited their roles with panache. Ben McAteer explored the Wotan-esque extremes of James
Opera (March 2016)
Ben McAteer (the John Mather Charitable Trust Scottish Opera Emerging Artist‚ 2015/16) was definitely the highlight of our night. He sang with a modern‚ contemporary sound that cut through the ample orchestra and over some extremely dramatic scoring for the pit. His range was astounding and the ease of production was inspiring.
Schmopera (March 2016)
Ben McAteer sings the principal role of James. He has a solid, powerful baritone and really good stage presence. This is the most emotionally complex role and he conveys the thoughtful, ambiguous character well, especially at moments of interior, lyrical, reflection such as when he compares his own, damned, state to a poor couple crossing the road in the rain.
Opera Ramblings (March 2016)
Ben McAteer as James has a pleasing combination of warmth and solidity to his baritone.
Critics' Circle (Feb 2016)
Ben McAteer sings strongly as the opera’s central figure.
Financial Times (Jan 2016)
Ben McAteer was James‚ the hapless first bottle buyer‚ using his riches to become a property magnate‚ his high baritone part expressing the range of initial wariness‚ delight and greed...there is not a weak link in this uniformly strong cast.
Bachtrack (Jan 2016)
Ben McAteer (James) is a Scottish Opera Emerging Artist for 2015/16 and‚ on this performance‚ the accolade is justified. His love scenes with Catherine have warmth and sincerity. As he explains the wedding anniversary presents‚ or leaps to conclusions about what Catherine is trying to tell him‚ he engages our sympathy.
OperaCritic (Feb 2016)
Opera (March 2016)
Ben McAteer (the John Mather Charitable Trust Scottish Opera Emerging Artist‚ 2015/16) was definitely the highlight of our night. He sang with a modern‚ contemporary sound that cut through the ample orchestra and over some extremely dramatic scoring for the pit. His range was astounding and the ease of production was inspiring.
Schmopera (March 2016)
Ben McAteer sings the principal role of James. He has a solid, powerful baritone and really good stage presence. This is the most emotionally complex role and he conveys the thoughtful, ambiguous character well, especially at moments of interior, lyrical, reflection such as when he compares his own, damned, state to a poor couple crossing the road in the rain.
Opera Ramblings (March 2016)
Ben McAteer as James has a pleasing combination of warmth and solidity to his baritone.
Critics' Circle (Feb 2016)
Ben McAteer sings strongly as the opera’s central figure.
Financial Times (Jan 2016)
Ben McAteer was James‚ the hapless first bottle buyer‚ using his riches to become a property magnate‚ his high baritone part expressing the range of initial wariness‚ delight and greed...there is not a weak link in this uniformly strong cast.
Bachtrack (Jan 2016)
Ben McAteer (James) is a Scottish Opera Emerging Artist for 2015/16 and‚ on this performance‚ the accolade is justified. His love scenes with Catherine have warmth and sincerity. As he explains the wedding anniversary presents‚ or leaps to conclusions about what Catherine is trying to tell him‚ he engages our sympathy.
OperaCritic (Feb 2016)
THE MAGIC FLUTE, NORTHERN IRELAND OPERA, SEP 2016
An enormously likable‚ robustly-sung performance from Newry-born baritone Ben McAteer...a natural comic actor with the bumbling‚ puppy-like demeanour of a youthful Oliver Hardy. His closing duet with Papagena was pure catharsis‚ the most simply joyful moment in the entire evening...a heartening and - yes - magical evening.
Opera (Nov 2014)
Leading the charge was Newry baritone Ben McAteer, a wonderfully affable, endearing Papageno, making his professional operatic debut. He's a natural actor, and much more will be heard of him in the future.
Belfast Telegraph
Ben McAteer’s Papageno is more than a side-show. His comic timing and delivery of the folk-song-like melodies and patter are hugely rewarding.
Irish Times
When you're talking about an entertaining Magic Flute, you're talking about one where Papageno makes a strong impact and Ben McAteer's performance, in dungarees covered with bird-crap, was indeed the stand-out routine of the night, his voice agile, his enunciation clear and his personality engaging.
Opera Journal
Opera (Nov 2014)
Leading the charge was Newry baritone Ben McAteer, a wonderfully affable, endearing Papageno, making his professional operatic debut. He's a natural actor, and much more will be heard of him in the future.
Belfast Telegraph
Ben McAteer’s Papageno is more than a side-show. His comic timing and delivery of the folk-song-like melodies and patter are hugely rewarding.
Irish Times
When you're talking about an entertaining Magic Flute, you're talking about one where Papageno makes a strong impact and Ben McAteer's performance, in dungarees covered with bird-crap, was indeed the stand-out routine of the night, his voice agile, his enunciation clear and his personality engaging.
Opera Journal
MADAMA BUTTERFLY, OPERA HOLLAND PARK
Ben’s assumption of what is one of opera’s most difficult roles was an outstanding achievement for so young an artist – he made you feel all Sharpless’ decency and frustration.
Music OMH
Music OMH
McAteer was a stiff yet sympathetic Sharpless, his performance emphasised the character's youth and inhibition, combined with a finely sung baritone line. Sharpless isn't a showy role, but McAteer impressed with the way he brought sympathy and musicality to the role, making me interested to learn what the singer can do in other roles.
Robert Hugill
Robert Hugill
HANSEL & GRETAL, SINFONIA D'AMICI, APR 2013
All six solo singers delivered fully-rounded performances and sang with grace and individuality – and, in the case of Ben McAteer as Father, something more. This remarkable young baritone, who was runner-up at the 2012 Kathleen Ferrier Awards...is of a calibre that bespeaks a great future.
Classical Source
Classical Source
LE NOZZE DI FIGARO, GUILDHALL SCHOOL OF MUSIC & DRAMA, MAR 2013
Ben McAteer provided the most rounded account of any of the characters assigned to the singers. Initially he did not come across as an ogre on his first surreptitious advance to Susanna in her room in Act One, but rather as an imperfect human who is not in command of his passions and urges. Rightly this was not a reading about stark black and white moral opposites: there was nothing to suggest that somebody in Susanna’s position would automatically rebuff him out of horror or disgust. McAteer grew into an angrier and more forceful figure as Almaviva’s plans become increasingly thwarted, for instance when he tries to gain access to the Countess’s wardrobe in Act Two. In his reflective scena at the beginning of Act Three where the Count discloses more of his human foibles and flaws, McAteer remained outwardly and musically firm, conveying Almaviva’s frustrations and complexities. There was also a certain nobility at the denouement of the drama as he asked the Countess for forgiveness – in effect standing-in for all humanity in seeking remission for its shortcomings.
Classical Source
Classical Source
KATHLEEN FERRIER AWARDS 2012
I would have handed the Song Prize to 24-year-old Ben McAteer, who showed a maturity of musicianship beyond his years. His immediate engagement with the text of Schumann’s ballad Belsazar was exemplary and he pitched wistful songs by Gurney and Harty just the right side of sentimentality. In arias from Eugene Onegin and Così fan tutte he was scarcely less impressive, singing with an engagingly understated ease and fluency. His tuning was immaculate, his tone focused. Another one to listen out for.
The Telegraph
The Irish McAteer also deserved his own spotlight: with his attractive timbre and musical intelligence, he’s a singer of genuine potential.
The Times
I felt that McAteer’s communication of the text, as he effortlessly embodied a range of characters in different dramatic and emotional situations, put him in the running for first prize. Whether outpouring Romantic angst or relishing the ironic wit of Classicism, every word was crystal clear and every musical gesture perfectly matched to the sentiments of the text.
Opera Today
The Telegraph
The Irish McAteer also deserved his own spotlight: with his attractive timbre and musical intelligence, he’s a singer of genuine potential.
The Times
I felt that McAteer’s communication of the text, as he effortlessly embodied a range of characters in different dramatic and emotional situations, put him in the running for first prize. Whether outpouring Romantic angst or relishing the ironic wit of Classicism, every word was crystal clear and every musical gesture perfectly matched to the sentiments of the text.
Opera Today
