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; and Waldvogel Siegfried, Pamina and Ilia for the Royal Opera House, Covent Garden. Engagements this season and beyond include 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; 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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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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    Pensieri notturni di Filli



Queen's Hall Edinburgh, EDINBURGH

Bach - BWV 52 Falsche Welt  22’
Bach - Brandenburg Concerto no 4 - 15’
- Interval -
Handel - Alpestre Monte HWV 81, 10'
Handel Op 3 no 2 in B flat Major 12’
Handel Gloria HWV deest, 19’

Direcotr: John Butt

Dunedin Consort

Wigmore Hall, LONDON

Bach - BWV 52 Falsche Welt  22’
Bach - Brandenburg Concerto no 4 - 15’
- Interval -
Handel - Alpestre Monte HWV 81, 10'
Handel Op 3 no 2 in B flat Major 12’
Handel Gloria HWV deest, 19’

Conductor: John Butt

Dunedin Consort

Trinity College Chapel Cambridge, CAMBRIDGE

Bach - BWV 52 Falsche Welt  22’
Bach - Brandenburg Concerto no 4 - 15’
- Interval -
Handel - Alpestre Monte HWV 81, 10'
Handel Op 3 no 2 in B flat Major 12’
Handel Gloria HWV deest, 19’

Direcotr: John Butt

Dunedin Consort

Royal Festival Hall, LONDON

BACH: 'St Matthew Passion'

Tenor arias: Nicky Spence
Christus: Matthew Best

Conductor: David Hill
The Bach Choir

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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



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