Benjamin Bernheim, 39, is one of the finest tenors of his generation, particularly in French lyric roles. With his slim physique, attractive presence, charming personality, and a voice of delicate gold, Bernheim’s career has soared since Cecilia Bartoli cast him as Massenet’s Cléopatre in Salzburg in 2012. Over 30 million people heard him sing during the Paris 2024 Olympics closing ceremony.
Relatively new to the recital stage, Bernheim believes every song tells a story. His meticulous attention to detail and dramatic nuance explain his connection to the audience. “The magic of a recital is the intimacy between the artist and the audience. Without an orchestra, every breath, every emotion is felt, creating a unique bond.”
Accompanying him is Canadian Carrie-Ann Matheson, the current artistic director of San Francisco Opera. Their long-standing collaboration elevates their performance to remarkable heights.
The first half of the program was entirely French, with songs that require as much focus on the text as on the interpretation. No one sings the French language as exquisitely as Bernheim, aside from Roberto Alagna. Gounod’s L’absent depicts a deceased lover watching over his beloved, wondering if she still remembers him. The phrase Et si ma bien-aimée, alors que moi je veille, Se souvient de l’absent showcases Bernheim’s exceptional French, where the use of different vowel sounds conveys extraordinary tenderness.
Hahn’s L’Heure exquise captures the longing of a lover under moonlight, and Bernheim’s pianissimi are nothing short of gorgeous, particularly on the final high note. Matheson’s accompaniment is a perfect reflection of the water in the piece. The first half concludes with two songs from Chausson’s Poème de l’amour et la mer, where Bernheim paints the drama of love and loss with his delicate vocal palette.
The second half explores three Spanish songs centered around loss, though Bernheim’s Spanish needs some refinement. Mompou’s Damunt de tu evokes the fragrance of lilies over a loved one’s body, while Turina’s Los dos miedos builds tension through its repeated sin ti (“without you”). Ginastera’s Canción al arbol del olvido expresses the futile attempt of a lover trying to forget his pain at the “forgetfulness tree.”
These powerful Spanish songs should be featured more in recital programs.
Three Puccini songs follow, showcasing Bernheim’s dramatic power, breath control, and vocal range. Mentìa l’avviso (False Warning) and Terra e mare (Land and Sea) from Manon Lescaut and La Bohème highlight his ability to fluctuate between fortissimo and subtle pianissimo.
The final section of the program shifts back to French repertoire with three Duparc songs, followed by three songs from Bernheim’s 2024 album Douce France. His interpretation is unusual in its artistry and technique. Kosma’s Les feuilles mortes poignantly describes separation, while Bernheim’s two encores—Nadir’s aria from The Pearl Fishers and Pourquoi me réveiller from Werther—showcase a stunning variety of vocal colors, breath control, and dramatic intensity. The final phrase, o souffle du printemps (Breath of Spring), hung in the air, leaving the audience captivated.
Having sold out since May, the listeners were richly rewarded. This recital, where the pianist and tenor were in perfect harmony, received a standing ovation.
The primary theme of this program is death and loss. The powerful music, beautiful poetry, and the intimacy of Bernheim’s artistry may evoke profound emotions in listeners dealing with such grief. In an age where content warnings are common for films, theater, and TV, perhaps similar warnings should be considered for recitals.
Recital
Benjamin Bernheim and Carrie-Ann Matheson
Sunday 9th February 5 pm
Running time 95 minutes including interval.