Intermusica Artists' Management



Intermusica represents Mary Bevan worldwide

Artist Manager:
Catherine Chan-Murphy

Assistant to Artist Manager:
Martha Hartman

Mary Bevan


Mary Bevan is one of Britain’s top emerging artists, receiving acclaim from critics and audiences alike for her stand out performances. In October 2014, Bevan was awarded the UK Critics’ Circle Award for Exceptional Young Talent in music.

This season Bevan sings Susanna The Marriage of Figaro at English National Opera and Music / Euridice in Monteverdi L’Orfeo with the Royal Opera House at the Roundhouse. In concert she will perform Mozart Requiem with the English Chamber Orchestra and Fauré Requiem with the Philharmonia Orchestra, as well as concerts with the Britten Sinfonia and Southbank Sinfonia. She will also sing Belinda Dido and Aeneas with Harry Bicket and The English Concert.

Opera engagements in the 2013/14 season included Bevan’s house debut at the Royal Opera House, Covent Garden for Barbarina Le nozze di Figaro; Despina Così fan tutte, Papagena The Magic Flute and Second Niece Peter Grimes at ENO, her role debut as Musetta La bohème with Ryan Wigglesworth at the St Endellion Festival, Servilla La clemenza di Tito and Gerechtigkeit Die Schuldigkeit des ersten Gebots with Classical Opera and a staged version of Haydn Creation with Vocal Futures.

Other operatic highlights include Galatea Acis and Galatea for Iford Arts under Christian Curnyn, the world premiere of David Bruce The Firework Maker’s Daughter co-commissioned by The Opera Group, Opera North and ROH2, Yum-Yum The Mikado, Barbarina The Marriage of Figaro and Rebecca in the world premiere of Nico Muhly Two Boys at ENO, Zerlina Don Giovanni and Barbarina for Garsington Opera, and Pamina Die Zauberflöte for Garsington Opera at West Green House. Mary was previously an Associate Artist of Classical Opera, with whom she has sung Tamiri Il re pastore, Thomas Arne Alfred and Handel Apollo e Daphne.

Well in demand on the concert platform, Mary Bevan recently performed Maxwell Davies Caroline Mathilde Suite with the BBC National Orchestra of Wales at the BBC Proms, Mendelssohn Symphony No.2 with the City of Birmingham Symphony Orchestra and Stravinsky Pulcinella with the Prague Philharmonia. Other recent highlights include Handel Messiah with the English Concert, English Chamber Orchestra, Edinburgh Royal Choral Union and Royal Choral Society, Bach B minor Mass for Ludus Baroque, Mendelssohn A Midsummer Night’s Dream with the Scottish Chamber Orchestra under Sir Roger Norrington at the Edinburgh International Festival, Bach St Matthew Passion, Handel Israel in Egypt, Haydn Nelson Mass with the Hanover Band, Bach St John Passion at the Spitalfields Festival and Britten Les Illuminations with the ECO. A dedicated recitalist, she has appeared at the Oxford Lieder Festival, the Wigmore Hall, and Rheingold Live.

In recording she can be heard as Deceit The Triumph of Time and Truth and in Handel Ode for St Cecilia’s Day with Ludus Baroque, Vaughan Williams Symphony No.3 and Schubert Rosamunde with the BBC Philharmonic Orchestra under Paul Daniel, Hadley Fen and Flood with the Bournemouth Symphony Orchestra, Handel in the Playhouse, a selection of Handel duets and songs with L’Avventura London for Opella Nova Records, Ludwig Thuille songs with Joseph Middleton, and Mendelssohn’s complete songs with Malcolm Martineau for Champs Hill Records.

Bevan trained at the Royal Academy Opera, and read Anglo-Saxon Norse and Celtic at Trinity College, Cambridge. She is currently a Harewood Artist at the English National Opera.

Mary Bevan is represented by Intermusica worldwide.
February 2015 / 537 words. Not to be altered without permission. Please destroy all previous biographical material.

Opera Repertoire
Concert Repertoire

Opera Repertoire

ARNE Venus Alfred
Pallas The Judgement of Paris
Emma King Alfred
Frasquita Carmen
Emmie Albert Herring
Nieces Peter Grimes
Governess Turn of the Screw*
BRUCE, D  Lila The Firework Maker’s Daughter
Yum-Yum The Mikado
Kate Yeomen of the Guard
Iris Semele
Galatea Acis and Galatea
HUMPERDINCK  Gretel Hansel und Gretel*
La Musica / Ninfa L’Orfeo*
Pamina / Papagena Die Zauberflöte
Despina Così fan Tutte
Zerlina Don Giovanni
Tamiri Il re pastore
Susanna / Barbarina / Cherubino Le Nozze di Figaro
Gerechtigkeit Die Schuldigkeit des ersten Gebots
Servilia La Clemenza di Tito
MUHLY, N Rebecca Two Boys
OFFENBACH Venus Orpheus in the Underworld
PUCCINI Musetta La bohème*
PURCELL First Witch / Belinda Dido and Aeneas
Fairy Queen
VIVALDI Arpago L’incoronazione di Dario
*In preparation

Back to Top

Concert Repertoire

Midsummer Night
Christmas Oratorio
St John Passion
St Matthew Passion

Mass in B Minor
Les nuits d'été
Te Deum
Ein deutsches Requiem
Les Illuminations
Our Hunting Fathers
Rejoice the Lamb
Chants d'Auvergne
A Late Lark
Te Deum
GOUNOD  St Cecilia Mass
HADLEY, P Fen and Flood
HANDEL Dixit Dominus
Apollo e Dafne
The Triumph of Time and Truth
Israel in Egypt
Ode on St Cecilia’s Day
HAYDN The Creation
Nelson Mass
The Seasons
St Paul
JANÁČEK Diary of One who Disappeared
LUTOSLAWSKI Chantefleurs et Chantefables
MACMILLAN Seven Last Word from the Cross
MENDELSSOHN A Midsummer Night’s Dream
Symphony No. 2
St Paul
MESSIAEN La Mort du Nombre
MOZART Mass in C Minor
Ch'io mi scordi di te?
Carmina Burana
PERGOLESI  Stabat Mater
RAVEL   Shéhérazade
RODRIGO, J   Cuatro madrigales amatorios
RUTTER Requiem
Mass for the Children
SCHUBERT Rosamunde
STRAUSS Selection of Orchestral Songs
STRAVINKSY   Pulcinella
Hadley Vaughan-Williams
Fen and Flood – A Cantata
The Garden of Proserpine
Bournemouth Symphony Orchestra, The Joyful Company of Singers, Paul Daniel, Jane Irwin, Leigh Melrose
Albion 2011
Handel in the Playhouse
L’Avventura London, Zak Ozmo
Opellanova 2009
Song for St Cecilia's Day
Ludus Baroque, Richard Neville-Towle
Delphian 2012
The Triumph of Time and Truth
Ludus Baroque, Richard Neville-Towle, Sophie Bevan, Tim Mead, Ed Lyon, William Berger
Delphian (release date May 2014)
Seven Last Words from the Cross
The Dmitri Ensemble, Graham Ross
Naxos 2009
Complete Songs
Malcolm Martineau, Sophie Bevan, Robin Tritschler, Jonathan McGovern, Allan Clayton, Benjamin Appl
Champs Hill Records 2014
Lieder Year By Year
Sholto Kynoch
Stone Records 2013
Sophie Bevan, Jennifer Johnston, Joseph Middleton
Champs Hill Records 2013
David Starkey’s Music & Monarchy BBC 2013
The Complete Songs, Vol 4: Keller, Fallersleben, Ibsen & Other Poets
Sholto Kynoch, Quiran de Lang
Stone Records 2012

Music/Euridice/Echo Orfeo / Royal Opera House / Roundhouse
Cond. Christopher Moulds / dir. Michael Boyd

“Mary Bevan (Music/Euridice), Susan Bickley (the Messenger) and Anthony Gregory and Alexander Sprague (the Shepherds) are also outstanding in an altogether first-class cast”
Ruper Christiansen, Daily Telegraph, January 2015

“Mary Bevan was a beautifully expressive La Musica, creating a real sense of the recitar cantando which combined Paterson's poetic translation and Monteverdi's music with powerful fluidity and naturalness.”
Robert Hugill, Planet Hugill, January 2015

“Musica is performed here by Mary Bevan – a young English soprano currently on the artists programme at the ENO – who is double cast as Euridice. She scored a hit with a moment of unutterable beauty in her call for silence; her Orfeo, played by Gyula Orendt, laid across her knees, together posed like a Pietà.”
George Smart, Harper’s Bazaar, January 2015

“Mary Bevan offered a lovely Euridice, words and music as one …”
Mark Berry, Seen and Heard International, January 2015

Susanna The Marriage of Figaro / English National Opera
Cond. Jaime Martin / dir. Fiona Shaw

“… the shining exception of Mary Bevan… with her dramatic awareness and quick wit as Susanna”
Andrew Clements, Guardian, October 2014

“… her Susanna is gloriously acted and stylishly sung: a real coming-of-age”
Richard Morrison, Times, October 2014

“Mary Bevan’s bewitching Susanna. It was entirely appropriate that the first night should conclude with Bevan receiving this year’s Exceptional Young Talent award from the Critics’ Circle, because the perfection of her singing is allied to a natural dramatic gift.”
Michael Church, Independent, October 2014

“Bevan… reveals a vocal line of soaring sweetness and accuracy, as well as impeccable phrasing. Her gestures and facial expressions, even when she is silently hiding behind objects, suggest a bright character who is always thinking and calculating, but only ever with the most noble of intentions.”
David Smith, Music OMH, October 2014

“But the show belongs to Bevan... this felt a lot like the singer’s graduation – a promotion to a role she was made to play. Pert and pretty as any Susanna, under Shaw’s direction Bevan also has a no-nonsense vigour about her, and we more than believe her sly declaration that “women of my class don’t get headaches”. A singing actress of the most instinctive kind… this is a performance that must be judged as a whole.”
Alexandra Coghlan, The Arts Desk, five stars, October 2014

“The most remarkable singing comes from the Susanna of Mary Bevan… Unfailingly stylish, she combines great diction with acting ability and a natural warmth”
David Gutman, The Stage, October 2014

“…she was indeed sparkling”
Stu Black, Londonist, October 2014

“Mary Bevan was the undoubted star of the show, a world-class Susanna, her singing as beautiful and as truthful as her acting.”
Mark Berry, Seen and Heard International, October 2014

“Mary Bevan’s Susanna is a wonderful study of voice and character… by the end of the night, triumphant in every way she was stunning. Her interactions with Lucy Schaufer’s delicious Marcellina were wonderfully funny with an arch comedy timing that was spot on; whenever they were on stage together they shone with glee and bravado.”
Eric Page, G Scene, October 2014

Handel: The Triumph of Time and Truth [CD : Delphian DCD34135]
Ludus Baroque / cond. Richard Neville-Towle

“Both Bevans sing with lustrous tone, natural agility and exquisite decorations”
Anna Picard, BBC Music Magazine, October 2014

The Schubert Project / Kings Place, London
"... Bevan's control during the quiet sections of Dass sie hier gewesen was impressive."
Emily Owen, Bachtrack, October 2014

The Triumph of Time and Truth / Ludus Baroque [CD: Delphian]
Cond. Richard Neville-Towle

“Both Bevans sing with lustrous tone, natural agility and exquisite decorations”
Anna Picard, BBC Music Magazine, September 2014

“Mary Bevan is a poised Deceit, again with a lovely warm tone and she is admirably fluent and delights in the more complex passagework, showing herself well able to seduce.”
Robert Hugill, July 2014

Schubert: Lieder Year by Year / CD: Stone Records
“Mary Bevan’s soprano brings the warm scents and breezes of spring to ‘Lob der Tränen’ (1818)”
Hilary Finch, BBC Music Magazine, June 2014

Handel Let God Arise and Boyce Solomon / Orchestra of the Age of Enlightenment
Cond. Steven Devine

“Mary Bevan had replaced an indisposed Lucy Crowe at very short notice. As the adored She, her soprano was unfailingly stylish…(she) took on fearlessly the grandiloquent Handelian aria, “O fill with cooling juice the bowl”, with its trumpets and drums.”
Hilary Finch, Times, June 2014

“Following the Handel, there was more radiance in Bevan’s execution of her responses in the female part of Boyce’s extended dialogue, particularly commendable given the short time she had had to learn it. Understanding that this is not an opera or oratorio, she sang with brightness and tenderness, without artificial or exaggerated musical gestures.”
Curtis Rogers, Classical Source, June 2014

Despina Così fan tutte / ENO
Cond. Ryan Wigglesworth Dir. Phelim McDermott

“…Mary Bevan gave a brightly sung and entertaining performance, not least as a line-dancing Texan lawyer.”
John Allison, Opera, July 2014

“…soprano Mary Bevan could hardly be bettered as Despina.”
Agnes Kory, Musical Criticism, June 2014

“…fantastically supported by the versatile Mary Bevan, who not only shows great charm and skill as the maid Despina, but also launches into hilarious character changes and even line-dances, singing Mozart with an southern American accent.”
Camilla Gurtler, A Younger Theatre, May 2014

“More impressive are Mary Bevan’s Despina and Roderick Williams’ Don Alfonso.”
Barry Millington, London Evening Standard, May 2014

“…with Mary Bevan as the most versatile and bewitching Despina I have ever seen”

“... (with) Mary Bevan’s Protean Despina, we get singing of a quality rarely heard at the Coliseum.”
Michael Church, Independent, May 2014

“Soprano Mary Bevan is a fabulously mischievous Despina”
Lise Smith, Londonist, May 2014

“Mary Bevan's Despina was bright and unflagging…”
Martin Kettle, Guardian, May 2014

“Mary Bevan plays a sassy and self-assured Despina, one who takes on all the various disguises with gusto, and who has more agency here than either Mozart or Da Ponte credited her. That impression is consolidated by Bevan’s bold coloratura singing, always accurate and always arresting.”
Gavin Dixon, Bachtrack, May 2014

“Mary Bevan’s energetic Despina…taking the vocal and acting honours…”
Colin Anderson, Classical Source, May 2014

“Mary Bevan was a feistily funny Despina…”
Mark Valencia, What’s On Stage, May 2014

“…Bevan has charm in buckets and proved that she can sing wonderfully well in any accent asked of her...”
Alexandra Coghlan, The Arts Desk, May 2014

“Mary Bevan’s Despina is winningly acted...”
Richard Morrison, Times, May 2014

Servilia La Clemenza di Tito / Classical Opera
Cond. Ian Page

“Hannah Hipp…engaged powerfully as Sesto’s friend Annio, and with the equally well-cast Servilia of Mary Bevan, the impact of the brief but lovely Act One duet couldn’t fail.”
Peter Reed, Classical Source, March 2014

“Beguiling singing by the excellent Hannah Hipp and Mary Bevan as the young lovers Annio and Servilia.”
Rupert Christiansen, Daily Telegraph, March 2014

Mendelssohn Symphony No.2 / City of Birmingham Symphony Orchestra
Cond. Edward Gardner

“Sophie and Mary Bevan, sopranos and siblings, both sang with sweetness and grace.”
Norman Stinchcombe, Birmingham Post, February 2014

“[Sophie Bevan’s] limpid tone [was] complemented by the darker timbre of Mary Bevan in their poignant duet.”
Richard Whitehouse, Classical Source, February 2014

“Tenor Benjamin Hulett and sopranos Sophie and Mary Bevan all projected the English words with intelligent, expressively shaped phrasing.”
Rian Evans, Guardian, February 2014

Second Niece Peter Grimes / English National Opera
Cond. Edward Gardner / dir. David Alden

“The luxury casting of Rebecca de Pont Davies as Auntie and Rhian Lois and Mary Bevan as her nieces proves its worth in the Act Two quartet with Ellen.”
Sam Smith, Londonist, February 2014

“Showcasing the best of young British operatic talent, ENO Harewood Artists Rhian Lois and Mary Bevan take the roles of First and Second Niece, completing a cast of outstanding vocal strength for this spectacular revival.”
Lorenzo Belenguer, Huffington Post, February 2014

Schubert: Lieder Year by Year / Sholto Kynoch (piano) / CD: Stone Records
“Mary Bevan’s soprano brings the warm scents and breezes of spring to ‘Lob der Tränen’.”
Hilary Finch, BBC MM, April 2014

“Meanwhile, after the Litanei comes a pair of lighter songs, both sung freshly, brightly and absolutely in tune by the soprano Mary Bevan. The first, Die Blumensprache, is a rarity, but Schubert makes a delightful, inventive song out of a very silly poem by Anton Platner; the second, a subtle, wistful setting of A.W. von Schlegel’s almost equally silly Lob der Tränen, is a familiar favourite.”
Lucy Beckett, International Record Review, January 2014

Haydn Creation / Vocal Futures
Cond. Suzi Digby

“The radio mikes attached to the excellent singers, among them David Stout [and] Mary Bevan…certainly sent their arias and duets pinging around the vast space.”
Neil Fisher, Times, December 2013

Papagena The Magic Flute / ENO
Cond. Gergely Madaras / Dir. Simon McBurney

“Papagena [was] the warm, likeable young lyric soprano Mary Bevan.”
George Hall, Opera News, February 2014

“Mary Bevan stole her scenes as Papagena.”
Erica Jeal, Opera Magazine, January 2014

“Mary Bevan a delicious Papagena…”
William Hartston, Daily Express, November 2013

“Mary Bevan’s sassy Papagena brought grins to many faces.”
Mark Pullinger, Opera Britannia, November 2013

“McBurney extends the action into the auditorium, turning the camera on the audience, who can see each other on stage as Papageno and the lovely Papagena of Mary Bevan thread their way through the front stalls.”
Fiona Maddocks, Observer, November 2013

“Mary Bevan's Papagena in her one scene with Papageno…sparkle and fun.”
Andrew Clements, Guardian, November 2013

“…utterly delightful Mary Bevan [as] Papagena.”
Rupert Christiansen, Daily Telegraph, November 2013

“As Papagena Mary Bevan was as perky as you like.”
Mark Valencia, What’s On Stage, November 2013

“Mary Bevan’s cute Papagena.”
Michael Tanner, Spectator, November 2013

Barbarina / Le Nozze di Figaro / Royal Opera House, Covent Garden
Cond. Sir John Eliot Gardiner Dir. David McVicar

“Mary Bevan deserves particular mention for her house debut as Barbarina, her ‘L’ho perduta’ is beautifully sung...”
John E de Wald, Opera Britannia, September 2013

“Amongst the admirable supporting cast, Mary Bevan's sparkling Barbarina made the most impact.”
Intermezzo, September 2013

“Mary Bevan makes a memorable Barbarina.”
George Hall, The Stage, September 2013

Mozart Die Schuldigkeit des ersten Gebots K.35 'Gerechtigkeit' / Classical Opera / Wigmore Hall
Cond. Ian Page

“Mary Bevan was a regal and imperious Spirit of Justice...”
Claire Seymour, Opera Today, September 2013

Galatea Acis and Galatea / Early Opera Company
Dir. Pia Furtado

“Jacobski's biting bass, Bevan's dark, supple soprano and Hulett's clean, lyrical tenor are brilliantly contrasted in the Italianate trio ‘The flocks shall leave the mountains’…”
Independent, August 2013

“Mary Bevan makes a beguiling Galatea, her warm and supple soprano caressing Handel’s gentle airs with a lovely sense of unmannered style…”
Rupert Christiansen, Daily Telegraph, July 2013

“Benjamin Hulett's elegant tenor… and Mary Bevan's gracefully expressive soprano were the perfect embodiment of Acis and Galatea's shepherd/shepherdess love idyll (while it lasted, which admittedly wasn't long). They matched each other in vocal poise and were complemented by a beautiful instrumental accompaniment.”
Guardian, July 2013

Lila in David Bruce Firework Maker’s Daughter / New Victory Theatre / New York
Cond. Andrew Cyr / dir. John Fulljames

“Mary Bevan… refreshingly good…”
Eugene Paul, Theatre Scene, May 2013

“Mary Bevan led the cast Saturday as the plucky Lila, her soprano bright and full.”
James Jorden, New York Post, May 2013

Lila in David Bruce The Firework-Maker's Daughter / Royal Opera House Linbury Theatre
cond. Geoffrey Paterson / dir. John Fulljames
“Mary Bevan, endearing as the feisty young heroine, stomps around in huge flowing trousers, singing to drawings appearing on the walls and on pieces of paper held up the rest of the cast.”

“…between Bevan’s delightful Lila, Bruce’s inventive score and the majestic work of puppeteers… there is a great deal of magic to behold.”
Hannah Sander, Classical Source, April 2013

“Mary Bevan… supplies boundless energy…”
George Hall, The Stage, April 2013

“Bevan plays Lila fantastically – full of itchy discontent at her current lot in life and breathless excitement at what the future may hold as a fire maker.”
Ruth Hargreaves, Londonist, April 2013

“The cast is fabulous, led by the captivating Mary Bevan as the daughter (a performance guaranteed to win your heart)…”
Michael White, Daily Telegraph, April 2013

Lila in David Bruce The Firework-Maker's Daughter / Hull Truck Theatre
cond. Geoffrey Paterson / dir. John Fulljames

“Pullman's story of plucky Lila – the spirited Mary Bevan – who is determined to become a firework-maker like her father helped by her friends Chulak … and Hamlet, a great white elephant…, is full of generically eastern adventure.”
Fiona Maddocks, Guardian, March 2013

“Maxwell’s faithful adaptation of Philip Pullman’s source novel has the young heroine Lila (the excellent Mary Bevan) defying her father Lachlan’s wishes to have her married off and pursuing a safe career.”
Graham Rickson, The Arts Desk, March 2013

“Feisty and filthy in equal measure, Mary Bevan's sweet-toned Lila is a heroine to melt hearts. Born with the smell of gunpowder in her nose, she wants nothing more than to find the perfect cocktail of strontium and magnesium "to make the night explode".”
Anna Picard, Independent, March 2013

Yum-Yum in Gilbert and Sullivan The Mikado / London Coliseum
English National Opera / cond. David Parry / dir. Jonathan Miller / revival dir. Elaine Tyler-Hall

“[Mary Bevan's] singing was the best of the night, perfectly judged to combine the true operatic quality of her voice with a natural lightness fitting the music perfectly”.
William Hartston, Express, December 2012

“...when [Mary Bevan] delivered ‘The sun whose rays’ in night club style from the top of the grand piano, she began to shine. In her dialogue she was a delightful ingénue, beautifully matched with Robert Murray as Nanki-Poo”.
Miranda Jackson, Opera Britannia, December 2012

“...other classy performances... Mary Bevan sings Yum-Yum immaculately and with a knowing self-regard that retains a charmingly innocent surface”.
George Hall, Guardian, December 2012

“Newcomers Robert Murray and Mary Bevan are a well-matched, fresh-voiced pair of young lovers, delightfully at home in the idiom”.
Graham Rogers, The Stage, December 2012

“Mary Bevan and Robert Murray’s interpretation of the young lovers is superbly sickly sweet (think Jane and Timothy from Salad Days) contrasted with occasional moments of sublimity that lift the characters out of the 1930s context. Bevan, like her sister Sophie who sang the role in the 2011 revival, is delightful, delivering clipped sounds that would not be out of place in a Herbert Wilcox film”.
Chris Caspell, Classical Source, December 2012

“[Mary Bevan] plays off Robert Murray’s mincing Nanki-Poo with irresistible charm”.
Michael Church, Independent, December 2021

“...Yum-Yum, Peep-Bo and Pitti-Sing (Mary Bevan, Fiona Canfield and Rachael Lloyd respectively) were deliciously innocent and wonderfully vocally blended... Mary Bevan, this night’s Yum-Yum, is an up-and-coming graduate of Trinity College, Cambridge whose freshness, both of voice and of just plain youth, seemed perfect for the part”.
Colin Clarke, Seen and Heard International, December 2012

“...there are some individual performances to cherish including Mary Bevan as a pert Yum-Yum”.
Keith McDonnell, What’s on stage, December 2012

Recording: Wolf The Complete Songbook, Vol. 4 / Stone Records 5060192780161 / acc. Sholto Kynoch
“Mary Bevan’s feisty soprano draws vivid character cameos of the larger-than-life women featured in Wolf’s six Keller settings, from her proud greeting to a lofty warrior, to her sketch of a drunken charcoal-burner’s wife. The mature Ibsen settings come from Wolf’s incidental music for the play Das Fest auf Solhaug: stark Nordic drama and melancholy menace here, especially in Bevan’s splendid Gesang Margits”.
Hilary Finch, BBC Music Magazine, November 2012

Recording: Handel Ode on St Cecilia’s Day / Look down, harmonious Saint / Delphian DCD34110 / Ludas Baroque Chamber Orchestra / cond. Richard Neville-Towle
“Superb vocal solos, too, from Mary Bevan’s long-breathed soprano, benefiting from her dedication to textual meaning as well as her sweetness of tone”
George Hall, BBC Music Magazine, November 2012

“Mary Bevan gorgeously conveys the pious poetry of ‘But oh! What art can teach!’”
David Vickers, Gramophone, October 2012

“Bevan serve[s] the music laudably ... She has a clean limpid tone, which sits well in Handel’s arias, smooth but not pale, shining but not glaring, be it in the long, slow piece ‘What passion’ ... or in ‘The soft, complaining flute’, containing some neat trills”.
John T. Hughs, International Record Review, October 2012

Kate in Gilbert & Sullivan The Yeomen of the Guard / BBC Proms
cond. Jane Glover / dir. Martin Duncan

“The a cappella quartet ‘Strange Adventure’ gave us a chance to hear the angelic crystal soprano voice of Mary Bevan who, although she had a small role, certainly stood out vocally. It was classy singing indeed.”
Melinda Hughes, Spear’s WMS, September 2012

Deceit in Handel The Triumph of Time and Truth
Edinburgh International Festival / cond. Richard Neville-Towle

“good, strong performance...”
David Smythe, Bach Track, August 2012

Pamina in Mozart Die Zauberflöte
Garsington Opera at West Green House / cond. James Burton / dir. Karen Gillingham

“Two very memorable strengths in the Pamina (sung by Mary Bevan, fast-rising sister of the already established Sophie) and Tamino…”
Michael White, Daily Telegraph Blog, August 2012

“This fresh, vibrant youthful Magic Flute was a splendid showcase for the work of highly talented artists at the beginning of their careers... Mary Bevan, whom I also saw as a fine Zerlina in Don Giovanni at Garsington (at Wormsley) itself this summer, sings Pamina with mature dynamic, control and plenty of depth... thoughtful accuracy...”
Susan Elkin, The Stage, July 2012

“A cast of young talent, dubbed their 'emerging artists', including Mary Bevan as Pamina...”
Joanne Mace, Basingstoke Gazette, July 2012

Handel Song for St Cecilia’s Day
Ludus Baroque / cond. Richard Neville-Towle
CD (Delphian)

“Soprano Mary Bevan and tenor Ed Lyon add zest to Handel's high-arching settings of Dryden's verse.”
Anna Picard,  Independent, August 2012

"Beguiling new disc... Radiant soprano Mary Bevan is in glorious form..."
Stephen Pritchard, Observer, July 2012

Zerlina in Mozart Don Giovanni / Garsington Opera Company
dir. Daniel Slater / cond. Douglas Boyd

“...she plays a chavvy Zerlina to tarty perfection...”
Richard Morrison, Times, June 2012

“Both Elvira (Sophie Bevan) and Zerlina (Mary Bevan), sisters in life, displayed their contrasting talents ... Mary feline, athletic, as yet lighter voiced but captivating.”
Fiona Maddocks, Observer, June 2012

“Mary Bevan [stands out] for her agile Zerlina.”
Edward Bhesania, The Stage, June 2012

“Mary [Bevan] offered a Zerlina of personality and emphatic vocal character.”
George Hall, Opera News, August 2012

“An impressively talented cast of young singers... Mary Bevan played Zerlina... this added up to as perfect a trio of conquests, in voice, good looks and acting ability...”
William Hartston, Scottish Sunday Express, June 2012

“Callum Thorpe and Mary Bevan played Masetto and Zerlina well ... and both were in good voice within a generally strong cast. Bevan’s was the female voice which blended best in the ensemble numbers...”
Paul Kilbey, Bach Track, June 2012

“[Mary Bevan had] fun singing Zerlina as a gum-chewing teenage tearaway...”
Amanda Holloway, Opera, August 2012

Tamiri in Mozart Il re pastore (concert performance)
Classical Opera Company / cond. Ian Page

“Mary Bevan sang Tamiri with idiomatic grace”
Michael Church, Independent, November 2011

“Mary Bevan, dynamic and vocally radiant, will be a fine Pamina one day.”
Mark Valencia, Classical Source, November 2011

“As Tamiri, in love with Agenore, Mary Bevan sang her two arias with agility and passion.”
Nahoko Gotoh, Bach Track, November 2011

“The part of Tamiri, the object of Agenore’s affections, was taken by a silver-voiced Mary Bevan. Mary gave a dignified and assured rendition of a role that prefigures several female roles in some of Mozart’s later mature operas.”
John-Pierre Joyce, MusicOMH, November 2011

Barbarina in Mozart The Marriage of Figaro / English National Opera
dir. Fiona Shaw / cond. Paul Daniel

“Mary Bevan shone in the minnow-sized role of Barbarina, nearly upstaging Kathryn Rudge's alert Cherubino.”
Fiona Maddocks, Observer, October 2011

“As the hopelessly hormonal teenagers, Mary Bevan’s inebriated Barbarina was a flirtatious foil to Kathryn Rudge’s hyperactive Cherubino.”
Bach Track, October 2011

Patrick Hadley Fen and Flood
Bournemouth Symphony Orchestra / cond. Paul Daniel
Albion Records / ALBCD012

“Performances by soprano Mary Bevan and baritone Leigh Melrose in Fen and Flood are excellent”
Jeff Dunn, San Francisco Classical Voice, September 2011

“The two singers, Mary Bevan and Leigh Melrose, gave a most worthy performance of this thoroughly British piece, just like the singers themselves. The picturesque element, which the composer himself dreaded, resonated nonetheless in a very touching manner.”
Lionel Rouart, Forum Opera, November 2011

Rebecca in Nico Muhly Two Boys
English National Opera / cond. Rumon Gamba / dir. Bartlett Sher
“Brian has fallen online for manipulative Rebecca (the delightful Mary Bevan)”
Stephen Prichard, Guardian, July 2011

“Mary Bevan, in the difficult and somewhat elusive role of Rebecca, matched Spence in assurance and vocal confidence, whilst also conveying a richness of tone colour, and a sense of fragility and shade”
Stephen Graham, Musical Criticism, June 2011

Despina in Mozart Cosi fan tutte
Royal Academy Opera / cond. Jane Glover / dir. John Cox

“Mary Bevan was a musically accomplished Despina.”
Clare Colvin, Express, December 2010

“Mary Bevan’s Despina was of a similar class to Jenkins’s Fiordiligi: not at all irritating, and more rounded a character, musically as well as on stage, than we often experience.”
Mark Berry, Musicweb International, November 2010

“Mary Bevan played the cynical fast-talking Italian maid Despina to perfection.”
David Karlin, Bach Track, November 2010

Despina in Mozart Cosi fan tutte
Vignette Productions / cond. Graham Ross / dir. Andy Staples

“The victim here was Mary Bevan's Despina, bruised in love but brimming with sparkle, already a sophisticated comedienne and an elegant Mozartian.”
Anna Picard, Independent, August 2010

“Only Mary Bevan — exuding star quality as Despina — has the presence to cut through the bumph and entertain us.”
Kieron Quirke, Evening Standard, August 2010

“Mary Bevan’s transformation from Despina into a Gina Lollobrigida-like doctor was unforgettable.”
Michael White, Daily Telegraph, August 2010

Barbarina in Mozart Cosi fan tutte
Garsington Opera / cond. Douglas Boyd, dir. John Cox

“Note her younger sister Mary too, tenderly moving in Barbarina’s little aria.”
Geoff Brown, Times, June 2010

Emmie in Britten Albert Herring
Royal Academy Opera / cond. Nicholas Kok / dir. John Copley

“Note too... the bright promise of Mary Bevan, sparkling as one of the capering children, Emmie.”
Geoff Brown, Times, March 2010

“Mary Bevan made such a big impression as the juvenile Emmie, she came close to stealing the show. Twice.”
Michael White, Catholic Herald, March 2010

“…the children were outstanding. Mary Bevan, recent winner of the valuable Richard Lewis Award, was "luxury casting" as Emmie.”
Serena Fenwick, Musical Pointers, March 2010

“There were some excellent contributions from the delightful young trio of Mary Bevan (Emmie), Tess Bevan (Cis) and Joseph Beesley (Harry). Apart from their singing, the youngsters also amazed me with the precision of their ball passing (while, of course, singing).”
Agnes Kory, Musical Criticism, March 2010

Iris in Handel Semele / Royal Academy Opera
cond. Sir Charles Mackerras / dir. Anna Sweeney

“Mary Bevan’s ditzy blonde Iris was a striking performance”
Peter Reed, Opera Magazine, January 2010

“Mary Bevan as Iris, the goddess of Discord, was also a true joy to listen to. Her first aria 'There from mortal cares' was sung with just the right touch of irony and provocation. Judging this aria and the many recitatives which Ms Bevan was involved in this is also clearly a talent to watch. Ms Bevan’s truly beautiful soprano voice allied with a sound technique bodes well for the future.”
Calvin Wells, Opera Britannia, November 2009


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Mary Bevan (credit: Victoria Cadisch) Mary Bevan (credit: Victoria Cadisch) Download
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Mary Bevan (credit: Victoria Cadisch) Mary Bevan (credit: Victoria Cadisch) Download
Mary Bevan (credit: Victoria Cadisch) Mary Bevan (credit: Victoria Cadisch) Download
Mary Bevan (credit: Victoria Cadisch) Mary Bevan (credit: Victoria Cadisch) Download
Mary Bevan (credit: Victoria Cadisch) Mary Bevan (credit: Victoria Cadisch) Download
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  • Watch Mary Bevan perform Music/Euridice/Echo in the Royal Opera House's Orfeo at the Roundhouse in London: