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Stereophile, Recording of the Month July 2006
Recording of Mahler Symphony 8, Warsaw Philharmonic,
I dare say you've never heard in this music a tenor like Timothy Bentch—not even Ben Heppner. Bentch's top B-flats and
Bs are as heroic as his sweet singing is sweet. His "Blicket auf," a moment that can cause fear and trembling, is stirring in all
the right ways, and Wit's slight holding back of the tempo here is a stroke of genius.
ClassicsToday.com 04/18/2006 Recording of Mahler Symphony 8, Warsaw Philharmonic
Tenor Timothy Bentch does as fine a job with his first big number in praise of the Virgin as just about anyone: he's bright,
confident, and heroic, and his "Blicket auf!" is stunning.
Papiruszportal, 2005 March 11, National Concert Hall,
Mahler: Das Klagender Lied
The male soloist, Timothy Bentch was in superb form. It’s been a long time since I heard such a tender, but yet strong,
soaring, powerfully projecting performance.
Muszika, May 2005, Review of Monteverdi’s Orfeo and Handel’s Semele by Géza Fodor
In the enormous title role was the first rate Timothy Bentch. Enormous refers not only the size of the role, but also to the
variety required by it. In his role as Orfeo he sings with uncountable effects and portrays a wide range of emotional
expression and impulses of will. The tenor is most often heard in 18th century classical parts, in which clean phrases and a
clear focused voice are the most important, although these only gain uniqueness by his use of the appropriate tone and rich
color. In the classical style of Mozart and Haydn, Timothy Bentch is today such a value and a treasure to guard in the
Hungarian music life, as József Réti once was or the young Alfonz Bartha. The role of Orfeo, however, has different
requirements: the emotions, motivations, inner impulses, declarations of will, desires, the lyricism and drama sometimes
change from moment to moment, sometimes are constant, the articulation, the intensity, the dynamics, the tone colors
always have to be used with optimal expression and quality – Timothy Bentch achieved all of these.
… (Handel: Semele)
Next to her in the part of Zeus (Jupiter) was the once again outstanding Timothy Bentch. Monteverdi’s Orfeo and Handel’s
Semele are both Baroque, but in two different worlds: the stile recitative and the composed baroque aria represent and
require a completely different scale, dimension, sense of form, idiomatically express each style. He makes the
transformation not only vocally. Orfeo is at the mercy of the higher powers---Zeus is himself the higher power. The tenor
was able to portray this status difference not only vocally, but in his figure; after seeing his Orfeo portrayal we would not
expect the hardness and authority with which he as Zeus (Jupiter) surprises us in this performance. I consider it very
significant that in the Baroque and Classical singing, he is a constant presence in our music culture and in the tenor fach in
Hungary today, only Timothy Bentch reaches a high standard.
Momus.hu, 2005 March 16, Monteverdi Orfeo
I was a nervous in light of the Bentch’s recent indisposed performances. But now he succeeded to the end in such a
flawless, high quality portrayal of the role’s wishes, that it is possible to say that this role is a milestone in his career, and has
brought about an unqualified important moment in the history of Hungarian opera.
Muzsika 2004. February, 47th year, 2nd edition, page 9
Don Ottavio in Don Giovanni, Hungarian State Opera premiere
There were only a few who were able to fill their parts without lack, fewer who were able to sing without breaking the
musical phrase, and even fewer who reached the pure and correct vocality; and in reaching the perfect placidity of
expression at its peak, only one, and I repeat only one singer succeeded: Timothy Bentch – he was the only one who sang
Mozart in the complete meaning of the word…It appears that (the other tenor) in searching for the essence of the character,
could not free himself from his own energies, and unfortunately he received no help from the direction (I could go on..) but
not so with Timothy Bentch! Even though he started the “Dalla sua pace” aria too loudly – as if he were defending his
seated position, in spite of the bad directing position – he formed the part in its entirety so idiomatically, with such
plasticity, vividly, in every part formed with expression, his essence portraying such a pure light, that every joy was fulfilled:
finally after József Réti, Afonz Bartha, and the young Dénes Gulyás, at last we can hear and see a Mozart tenor on the
Opera stage that radiates the complete harmony of vocality and personality.
Muzsika 2004. October, 47th year, 10th edition, page 3, Haydn: L’Infedelta delusa
Though Timothy Bentch’s (Nencio) role was certainly less thankful, and surprisingly even though his acting technique was
the most withdrawn of the cast, simply one could not help but pay attention to him when he sang. The crystal pure,
balanced voice easily projected in the high register as well, and the especially beautiful tone essentially made his portrayal.
Muzsika 2000, Haydn: L’Infedelta delusa
I have met with Timothy Bentch many times, but not in Budapest. My earlier acquaintance had created a pleasant
impression, and now as one of the two experienced singers on the stage, Bentch greatly increased this impression…He
fulfilled his part without forcing, filling the place harmonically and fully. The parts that threaten to break the necks of today’
s tenors – the scales running up to high C – even these he sang with surprising ease, even though he was probably not
singing with the technique upon which Haydn counted when he dared to write this part; but who knows what kind of special
esthetic goal…
Momus.hu Matthew Passion, 1999-04-03
In the role of the Evanglist, Timothy Bentch’s portrayal was brilliant.
Recording of Mahler Symphony 8, Warsaw Philharmonic,
I dare say you've never heard in this music a tenor like Timothy Bentch—not even Ben Heppner. Bentch's top B-flats and
Bs are as heroic as his sweet singing is sweet. His "Blicket auf," a moment that can cause fear and trembling, is stirring in all
the right ways, and Wit's slight holding back of the tempo here is a stroke of genius.
ClassicsToday.com 04/18/2006 Recording of Mahler Symphony 8, Warsaw Philharmonic
Tenor Timothy Bentch does as fine a job with his first big number in praise of the Virgin as just about anyone: he's bright,
confident, and heroic, and his "Blicket auf!" is stunning.
Papiruszportal, 2005 March 11, National Concert Hall,
Mahler: Das Klagender Lied
The male soloist, Timothy Bentch was in superb form. It’s been a long time since I heard such a tender, but yet strong,
soaring, powerfully projecting performance.
Muszika, May 2005, Review of Monteverdi’s Orfeo and Handel’s Semele by Géza Fodor
In the enormous title role was the first rate Timothy Bentch. Enormous refers not only the size of the role, but also to the
variety required by it. In his role as Orfeo he sings with uncountable effects and portrays a wide range of emotional
expression and impulses of will. The tenor is most often heard in 18th century classical parts, in which clean phrases and a
clear focused voice are the most important, although these only gain uniqueness by his use of the appropriate tone and rich
color. In the classical style of Mozart and Haydn, Timothy Bentch is today such a value and a treasure to guard in the
Hungarian music life, as József Réti once was or the young Alfonz Bartha. The role of Orfeo, however, has different
requirements: the emotions, motivations, inner impulses, declarations of will, desires, the lyricism and drama sometimes
change from moment to moment, sometimes are constant, the articulation, the intensity, the dynamics, the tone colors
always have to be used with optimal expression and quality – Timothy Bentch achieved all of these.
… (Handel: Semele)
Next to her in the part of Zeus (Jupiter) was the once again outstanding Timothy Bentch. Monteverdi’s Orfeo and Handel’s
Semele are both Baroque, but in two different worlds: the stile recitative and the composed baroque aria represent and
require a completely different scale, dimension, sense of form, idiomatically express each style. He makes the
transformation not only vocally. Orfeo is at the mercy of the higher powers---Zeus is himself the higher power. The tenor
was able to portray this status difference not only vocally, but in his figure; after seeing his Orfeo portrayal we would not
expect the hardness and authority with which he as Zeus (Jupiter) surprises us in this performance. I consider it very
significant that in the Baroque and Classical singing, he is a constant presence in our music culture and in the tenor fach in
Hungary today, only Timothy Bentch reaches a high standard.
Momus.hu, 2005 March 16, Monteverdi Orfeo
I was a nervous in light of the Bentch’s recent indisposed performances. But now he succeeded to the end in such a
flawless, high quality portrayal of the role’s wishes, that it is possible to say that this role is a milestone in his career, and has
brought about an unqualified important moment in the history of Hungarian opera.
Muzsika 2004. February, 47th year, 2nd edition, page 9
Don Ottavio in Don Giovanni, Hungarian State Opera premiere
There were only a few who were able to fill their parts without lack, fewer who were able to sing without breaking the
musical phrase, and even fewer who reached the pure and correct vocality; and in reaching the perfect placidity of
expression at its peak, only one, and I repeat only one singer succeeded: Timothy Bentch – he was the only one who sang
Mozart in the complete meaning of the word…It appears that (the other tenor) in searching for the essence of the character,
could not free himself from his own energies, and unfortunately he received no help from the direction (I could go on..) but
not so with Timothy Bentch! Even though he started the “Dalla sua pace” aria too loudly – as if he were defending his
seated position, in spite of the bad directing position – he formed the part in its entirety so idiomatically, with such
plasticity, vividly, in every part formed with expression, his essence portraying such a pure light, that every joy was fulfilled:
finally after József Réti, Afonz Bartha, and the young Dénes Gulyás, at last we can hear and see a Mozart tenor on the
Opera stage that radiates the complete harmony of vocality and personality.
Muzsika 2004. October, 47th year, 10th edition, page 3, Haydn: L’Infedelta delusa
Though Timothy Bentch’s (Nencio) role was certainly less thankful, and surprisingly even though his acting technique was
the most withdrawn of the cast, simply one could not help but pay attention to him when he sang. The crystal pure,
balanced voice easily projected in the high register as well, and the especially beautiful tone essentially made his portrayal.
Muzsika 2000, Haydn: L’Infedelta delusa
I have met with Timothy Bentch many times, but not in Budapest. My earlier acquaintance had created a pleasant
impression, and now as one of the two experienced singers on the stage, Bentch greatly increased this impression…He
fulfilled his part without forcing, filling the place harmonically and fully. The parts that threaten to break the necks of today’
s tenors – the scales running up to high C – even these he sang with surprising ease, even though he was probably not
singing with the technique upon which Haydn counted when he dared to write this part; but who knows what kind of special
esthetic goal…
Momus.hu Matthew Passion, 1999-04-03
In the role of the Evanglist, Timothy Bentch’s portrayal was brilliant.
| Timothy Bentch, tenor |