Sophie Bevan

Engagements this season and beyond include concerts with the London Philharmonic Orchestra, the Radio Philharmonic Orchestra in Utrecht, the Newbury Spring Festival and in Aldeburgh. Further future engagements include returns to Covent Garden, the English National Opera and the London Philharmonic Orchestra.

© 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, the Young Singer award at the 2013 inaugural International Opera Awards and was made an MBE for services to music in the Queen’s Birthday Honours in 2019.

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 and Metropolitan Opera as Beatriz in Thomas Adès’ The Exterminating Angel.


Video & Audio

Performance Schedule

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    19:30 24 Oct 2020 Royal Festival Hall, LONDON

    LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor Op. 125

    Conductor: Daniele Rustioni
    Soprano: Sophie Bevan
    Mezzo-Soprano: Jade Moffat
    Tenor: Toby Spence
    Bass: Sir Bryn Terfel
    Orchestra: London Philharmonic Orchestra

From The Green Room


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    Gluck - Orfeo ed Euridice

    Label: Pentatone

    Release Date: 04 Oct 19

    Conductor: David Bates
    Orfeo: Iestyn Davies
    Euridice: Sophie Bevan
    Amor: Rebecca Bottone
    La Nuova Musica

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    SCHUBERT Swansong

    Label: Signum

    Release Date: 12 Oct 18

    Soprano: Sophie Bevan
    Bass: Sir John Tomlinson
    Clarinet: Julian Bliss
    Horn: Alec Frank-Gemmill
    Piano: Christopher Glynn

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    Songs of Vain Glory

    Label: Wigmore Live

    Release Date: 02 Jan 18

    Soprano: Sophie Bevan
    Piano: Sebastian Wybrew

    Cat. Number: WHLIVE0090

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    Label: Signum Classics

    Release Date: 05 May 17

    Album featuring arias by Haydn, Mozart, and Beethoven

    Conductor: Ian Page

    Soprano: Sophie Bevan

    The Mozartists

    Catalogue No.  SIGCD485

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    MOZART Zaide

    Label: Signum Classics

    Release Date: 01 Sep 16

    Conductor: Ian Page

    Soprano: Sophie Bevan
    Tenor: Allan Clayton
    Tenor: Stuart Jackson
    Baritone: Jacques Imbrailo
    Baritone: Jonathan McGovern
    Bass-Baritone: Darren Jeffery

    Classical Opera

    Catalogue No: SIGCD473

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    Songs by Max Reger

    Label: Hyperion

    Release Date: 01 Jul 16

    Soprano: Sophie Bevan
    Piano: Malcolm Martineau

    Catalogue No: CDA68057

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    Handel at Vauxhall, Vol. 1

    Label: Signum Classics

    Release Date: 04 Mar 16

    Conductor: Bridget Cunningham

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

    London Early Opera

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    Handel in Italy, Vol.1

    Label: Signum Classics

    Release Date: 31 Jul 15

    Conductor: Bridget Cunningham
    Soprano: Sophie Bevan
    Soprano: Mary Bevan
    Baritone: Benjamin Bevan
    London Early Opera

    Catalogue No: SIGCD423

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    Mendelssohn in Birmingham Vol.3

    Label: Chandos

    Release Date: 19 Jan 15

    Conductor: Edward Gardner
    Soprano: Sophie Bevan
    Soprano: Mary Bevan
    Tenor: Benjamin Hulett

    CBSO Chorus
    City of Birmingham Symphony Orchestra

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    The Airmen: Martin Shaw Songs

    Label: Delphian Records

    Release Date: 06 Feb 12

    Soprano: Sophie Bevan
    Tenor: Andrew Kennedy
    Baritone: Roderick Williams
    Piano: Iain Burnside

    Catalogue No: DCD34105

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    CARR Requiem For An Angel

    Label: Stone Records

    Release Date: 15 Nov 10

    Sophie Bevan
    Mark Stone
    Gavin Carr
    Paul Carr

    Bath Philharmonia
    Chorus Angelorum

    Catalogue No: 5060192780048

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    SWAYNE Stabat Mater; The Silent Land

    Label: Naxos

    Release Date: 01 Nov 10

    Conductor: Graham Ross
    Ben Alden
    Sophie Bevan
    Jonathan Sells
    Kate Joy-Symonds
    Raphael Wallfisch
    Dmitri Ensemble

    Catalogue No: 8.572595</div>

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    Blessed Spirit: A Gluck Retrospective

    Label: Wigmore Live

    Release Date: 20 Jan 10

    Conductor: Ian Page
    Soprano: Sophie Bevan
    Soprano: Ailish Tynan
    Mezzo-soprano: Anna Stephany
    Classical Opera Company

    Catalogue No: WHLIVE0037

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    HAYDN The Earl of Abingdon: Songs and Chamber Music

    Label: Naxos

    Release Date: 01 May 08

    Sophie Bevan
    Rodgers Covey-Crump
    Rachel Elliot
    Cafe Mozart
    Catalogue No: 8.570525</div>

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    A Song More Silent: New Works for Remembrance

    Label: Avie Records

    Release Date: 01 Nov 07

    Conductor: Nicolae Moldoveanu

    Counter-tenor: Michael Chance
    Mezzo-soprano: Carolyn Dobbin
    Soprano: Alexandra Stevenson
    Soprano: Sophie Bevan
    Tenor: Ben Johnson
    Baritone: Dawid Kimberg
    Cello: Sebastian Comberti
    Trumpet: Paul Archibald
    London Mozart Players

    Catalogue No. AV2147

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    GLUCK Orfeo ed Euridice
    Pentatone Recording

    “Sophie Bevan is a radiant EurIdice, impassioned, spirited and, in her crucial Act3 aria ‘Che fiero momento!’, a whirlpool of emotions and doubts, all delivered with intense musicality and stylishness.”

    Europadisc, 13 October 2019

    “Sophie Bevan’s Euridice swings, with blazing bravura and increasing intensity, from anguish to narcissim, lengthening top notes and compressing runs as her thoughts swirl.”

    BBC Music Magazine, November 2019

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    15 Aug 19 GLUCK Orfeo ed Euridice
    Edinburgh International Festival

    “Sophie Bevan was equally compelling as Euridice, her rich, powerful voice conveying the character’s grief. Hers and Davies’s duets in Act Three were both powerful and poignant, and Bevan’s departure from the stage on Euridice’s death was effective in its simplicity.”

    Miranda Heggie, The Herald, 16 August 2019


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    02 Jul 19 BRITTEN The Turn of the Screw
    Garsington Opera

    “As so often at Garsington, the casting is impeccable, with Sophie Bevan a multi-faceted Governess, rising to all the many challenges.”

    David Mellor, The Daily Mail, 3 July 2019

    “Bevan gives an extraordinary performance, sung with an almost radiant assertiveness that makes the Governess’s self-deception all the more disquieting.”

    Tim Ashley, The Guardian, 3 July 2019

    “[…]leaving the first half to be dominated by the beautiful singing of Sophie Bevan as the Governess.”

    Richard Fairman, Financial Times, 2 July 2019

    “Sophie Bevan sang exquisitely, with just enough power and excellent diction. Her Governess is far from a hysterical woman, but the horror of the situation freezes her, fainting or rooting her to the spot in the terrific confrontation between Quint and Jessel.”

    Mark Pullinger, Bachtrack, 2 July 2019

    “Sophie Bevan’s Governess, delivered with impressive tonal range, convincingly leaves us in doubt as to the fertility of her imagination. In the final moments she enters the corrupted realm of the lake, perhaps taking her own life, a striking conception somewhat undermined by the sight of her walking out the other side.”

    Barry Millington, Evening Standard, 2 July 2019

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    02 May 19 BRITTEN Les Illuminations
    Bridgewater Hall

    “Between the Symphonies Sophie Bevan was the magnetic soprano in Britten’s Les illuminations, settings of Frenchman Rimbaud’s symbolist poetry made for Sophie Wyss in 1939. The opening ‘Fanfare’ (not brassy, Britten’s scoring is solely for strings) was incisive and pregnant enough to anticipate a distinguished reading – fulfilled over the whole – Bevan quite operatic for her initial gambit, agile and sensual later, with some vivid word-painting, light and shade, discriminating dynamics, and well-judged (articulate) tempos.”

    Colin Anderson, Classical Source, 2 May 2019

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    17 Jan 19 WAGNER Das Rheingold
    Teatro Real Madrid

    “Sophie Bevan’s fresh soprano was perfect for Freia’s eternal youth…”
    Fernando Remiro, BachTrack, 22 January 2019

    “Estimable, asimismo, Sophie Bevan que aportó a su Freia timbre fresco y lozano con notas altas penetrantes y luminosas, lo que corresponde a la Diosa de la juventud, que cultiva en su huerto las manzanas de oro que permiten a los Dioses mantenerse eternamente jóvenes.”
    Raúl Chamorro Mena, Codalario, 22 January 2019

    “Pour le reste, on a admiré l’élégance claire, un rien académique du Wotan de Greeer Grimsley, la force dramatique de Sarah Connolly, intelligente Fricka, la délicatesse de Freia-Sophie Bevan, qui mesure subtilement l’amour que Fasolt lui porte en caressant son cadavre.”
    Jacqueline Thuilleux, Concert Classic, January 2019


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    06 Dec 18 STRAUSS Four Last Songs
    Royal Festival Hall

    “…she was totally in control of the long phrases, with all the necessary bloom at the top of every arch… rapport with guest leader Benjamin Gilmore in the third song, “Beim Schlafengehen”, soared with a newly charged emotion that didn’t let us go until the final setting of the sun in the Eichendorff setting…”
    David Nice, The Arts Desk, 7 December 2018

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    11 Oct 18 HANDEL Solomon
    Royal Opera House

    “Sophie Bevan was all rapturous bloom and sensual legato…”
    Alexandra Coghlan, The Arts Desk, 12 October 2018

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    12 Aug 18 VAUGHAN WILLIAMS Dona nobis pacem
    Royal Albert Hall

    “…the solo soprano writing (radiantly floated by Sophie Bevan)…”
    Andrew Clements, The Guardian, 13 August 2018

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    26 Jul 18 DEBUSSY La Damoiselle Élue
    BBC Proms, Hallé

    “… the controlled finesse of the ever-excellent soprano Sophie Bevan…”
    Boyd Tonkin, Arts Desk, 27 July 2018

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    12 Apr 18 BRITTEN Gloriana
    Teatro Real Madrid

    “… Sophie Bevan… sparkled as Penelope.”
    José M. Irurzun, Seen and Heard, 15 April 2018

    “Sophie Bevan’s ringing soprano portrayed a powerful Penelope…”
    Fernando Remiro, Bach Track, 16 April 2018

    “Excelentes asimismo la delicada Frances de Paula Murrihy y la combativa Penelope Rich de Sophie Bevan.”
    Luis Gago, El Pais, 13 April 2018

    “… Bevan’s Penelope, even in her most desperate moments, had a sense of composure in her characterization that matched Rock’s Blount. In fact, Bevan and Rock provided the most perfect melding of voices the entire night in their brief duet at the top of the second act.”
    David Salazar, Opera Wire, 13 April 2018

    “Sophie Bevan’s wonderfully sung Penelope Rich…”
    John Allison, Opera Magazine, July 2018

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    26 Oct 17 ADES The Exterminating Angel
    Metropolitan Opera

    “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

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    05 Aug 17 Dunedin Consort
    Queen's Hall Edinburgh

    “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

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    24 Jun 17 MOZART Idomeneo

    “…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

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

    “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

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    05 May 17 Perfido!
    Signum Classics

    “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

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    24 Apr 17 ADES The Exterminating Angel
    Royal Opera House

    “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

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

    “…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

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    17 Dec 16 STRAUSS Der Rosenkavalier
    Royal Opera House

    “…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

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    01 Sep 16 MOZART Zaide (CD)
    Signum Classics

    “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

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    14 Aug 16 ELGAR The Apostles
    Edinburgh International Festival

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

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    29 Jul 16 ADES 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

    “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

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    23 May 16 ENESCU Oedipe
    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.”

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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

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    23 Feb 16 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, 24 February 2016

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    26 Oct 15 BRITTEN 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

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

    “…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

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    23 Jul 15 HANDEL Saul
    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

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    03 Nov 14 MOZART Idomeneo
    Royal Opera House, Covent Garden

    “…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

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    14 Jul 14 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 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

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    16 Jun 14 BIZET The Pearl Fishers
    English National Opera

    “…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

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    24 May 14 STRAUSS 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, 26 May 2014

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    30 Mar 14 ROSSINI La gazza ladra
    Oper Frankfurt

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

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    16 Jan 14 HANDEL Jephtha
    Barbican, London

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

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    03 Dec 13 BACH 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, 4 December 2013

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    27 Nov 13 HANDEL 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, 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

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    09 Nov 13 HANDEL Jephtha
    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, 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

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    08 Jun 13 BRITTEN 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, 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

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    09 May 13 MOZART 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

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

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

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    17 Mar 13 Recital
    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, 19 March 2013


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    26 Feb 13 JANACEK 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, 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

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    07 Oct 12 WAGNER Siegfried
    Royal Opera House, Covent Garden

    “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

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    29 Aug 12 PURCELL 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, 29 August 2012

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    10 Aug 12 NOVELLO 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, 10 August 2012

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    20 Jun 12 MOZART Don Giovanni
    Garsington Opera

    “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)