Timothy Bentch, tenor
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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,
breathing, and expression. Bentch can fit perfectly into both paradigms. He is at home in both and can
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,
breathing, and expression. Bentch can fit perfectly into both paradigms. He is at home in both and can
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.