Pearl Fishers – North Carolina Opera
John Bellemer’s bright tenor made Nadir’s outbursts ring, while negotiating, if not fully controlling, the role’s numerous lyric passages.– The News and Observer
John Bellemer brought to the role of Nadir his considerably wide experience in opera, concerts, and recitals. His vocal rendition was characterized by a genuine tenor realization. His first-act aria “Je crois entendre encore” was splendid and every bit as infectious as the famous duet with Zurga…The universally acclaimed duet “Au fond du temple saint,” was sung magnificently; the stuff of operatic rapture.– CVNC
This being opera, there was amazing singing. Boy, was there amazing singing! The voices of the male leads, John Bellemer (Nadir) and Jarrett Ott (Zurga) blended perfectly and their range was jaw-dropping.– Triangle Arts and Entertainment
Ira Hayes in “Der leuchtende Fluss” – Theater Erfurt
John Bellemer is Ira Hayes, an outstanding title hero who radiates credibility from the first moment – vocally too, thanks to his keen tenor. – Opernetz.de
Maria di Rohan – Buxton Festival
John Bellemer, the American tenor, is a Riccardo of considerable style, with the sprint of a real Donizettian tenor as the action hots up. — Hilary Finch, The Times (UK)
BSO’s stripped down ‘La Boheme’ puts music above spectacle
Bellemer’s tenor voice was strong, resonant and charming.— Judy Harrison, Bangor Daily News
Rigoletto – Opera Theatre of Saint Louis
You haven’t fully experienced that Verdi chestnut “La donna è mobile” until you’ve heard a Duke like the young tenor John Bellemer, in the St. Louis “Rigoletto,” sing it…” – Anthony Tommasini, New York Times
WSO brings the spirit of Beethoven to life
After the low strings’ delicious opening statement of the principal theme that launches the finale, Bellemer introduced the chorale with his soaring, recitative evocation to ‘friends.’ The four soloists presented as a remarkably well-blended ensemble throughout, with Bellemer a particular standout with ringing high notes and legato phrasing. — Holly Harris, Winnipeg Free Press
Cristina, Regina di Svezia, Chelsea Opera Group, Cadogan Hall
COG always casts from strength. Here it already had two perfect foils ready-made from Wexford in the … roles of lover and rival: [including] fully Italianate sounding (and looking) American tenor John Bellemer as Gabriele de la Gardie. — David Nice, Arts Desk
Fine support was provided … especially by John Bellemer as Gabriele, the apex of a triangle with Cristina and Maria. — Brian Kellow, Opera News
John Bellemer thrilled as Gabriele here with strong tenor, which has a tremendous radiance even in the heights. – OMM
Duke University Chapel’s Dramatic and Magnificent Messiah Turns 80
This performance’s special sense of occasion was evident from the first solo recitative and air, ‘Comfort ye my people,’ sung powerfully by tenor John Bellemer with a clarion ring combined with warmth…. Diction was impeccable. — William Thomas Walker, Classical Voice of North Carolina
A Village Romeo and Juliet – Wexford Festival Opera
Leading the cast, John Bellemer’s Sali was an attractive presence both vocally and dramatically. His is a technique that leaves nothing to chance, finishing and finessing each phrase with great attention. A lovely open top register brings colour to the more impassioned moments, and he balanced a convincing sense of youthful uncertainty with a mature delivery. — Alexandra Coghlan, New Statesman
As Sali and Vreli, John Bellemer and Jessica Muirhead were unfailingly sympathetic. Bellemer brought just the right touch of impetuousness to the role, his buoyant tenor conveying the optimism and conviction of the young lover, while Muirhead’s clear ringing soprano combined burgeoning ardour with eloquent innocence. — Claire Seymour, Opera Today
As the lovers, John Bellemer as Sali and Jessica Muirhead as Vreli, give a committed and moving performance. — Clare Colvin, The Sunday Express (UK)
John Bellemer and Jessica Muirhead are ideal as the lovers, well-matched, starkly convincing. — Antony Craig, Gramophone
The Lighthouse by Peter Maxwell Davies – Boston Lyric Opera
As the other two grapple with the revelation, Sandy launches into a sentimental love song, a Victorian parlor diversion, which Bellemer presents in a terrific imitation of a cardboard Irish tenor…. Musically, the evening was also close to perfect…. The three vocalists were superb. — David Bonetti, Berkshire Fine Arts
Then as the Prologue becomes the main body of the opera, titled ‘The Cry of the Beast,’ the three officers morph into the three lighthouse keepers themselves. What an odd bunch they are. And how convincingly the three singers embodied them…. Firm tenor John Bellemer is the sentimental Sandy, blighted in love…. As they become more and more desperate, their voices screech into hair-raising falsetto. — Lloyd Schwartz, Boston Phoenix
John Bellemer’s lyric tenor negotiated Davies’ declamations with aplomb and … made the oasis of lyrical singing in the middle of the opera an important and moving counterpoint to the horror. — Angelo Mao, Boston Classical Review
The singers, all possessed of crisp diction, were excellent. John Bellemer sang Sandy with a tenor of arresting sweetness. — George Loomis, Musical America
Lucia di Lammermoor – Opera Birmingham
As Edgardo, tenor John Bellemer … came through with a passionate rendering of ‘Tu che a Dio’ in the final graveyard scene. — Michael Huebner, Birmingham News
Faust – Hawaii Opera Theater
As Faust, Akina cast John Bellemer, a fine tenor with beautiful tone and excellent technique. His voice is not especially large, and he had to work to hold his own, but that actually worked out well: Bellemer’s Faust was less a hero than an earnest and well-meaning fellow, a pawn among stronger characters. — Ruth Bingham, Honolulu Star-Advertiser
Luisa Miller – Buxton Opera House
… the ardent tenor of John Bellemer makes an ideal Rodolfo. — David Denton, Yorkshire Post
She was happily matched to an engaging young American tenor John Bellemer, who expressed love with finesse and confronted adversity with bravado. — Rupert Christiansen, The Telegraph (UK)
The most accomplished singing came from John Bellemer’s Rodolfo, whose ‘Quando le sere al placido’ (the most famous number in the score) rang out sweetly and sincerely. — Andrew Clark, Financial Times
Passions run high with a vocally muscular Rodolfo in John Bellemer, disarmingly touching in his most celebrated number ‘Quando le sere al placido.’ — Lynne Walker, The Independent
John Bellemer as Rodolfo is every bit the romantic Italian tenor; his singing in the only well-known number from the opera, ‘When in the evening’, would have been met with shouts and whistles had we been in Turin rather than oh-so-reserved Buxton. — Chris Ramsden, Notes From Middle England
Carmen – Michigan Opera Theatre
American tenor John Bellemer made his MOT debut, singing Don José’s music with admirable restraint … he sang with an intelligence that produced … admirable results. — John Guinn, Opera News
As the object of Carmen’s current appetite Bellemer’s Don José makes a persuasive decline from upright country boy and dutiful soldier to a man driven to distraction by this sexual whirlwind that no man can resist. In Act II, the tavern scene, Bellemer’s earnest, brilliant singing of ‘The Flower Song’ highlights the production’s radical turn toward dramatic focus as Carmen and her fellow brigands plan a risky job. Aldrich and Bellemer forge an electrifying death match. Bellemer’s distraught Don José is a piece of work: a good man disintegrating before our eyes. — Lawrence B. Johnson, Detroit News
La Traviata
As Alfredo Germont, John G. Bellemer gave an impressive Cleveland Opera debut. His seamless delivery and his clean technique made for a suave performance. – Akron Beacon Journal
Tenor John Bellemer, in the role of the love-struck Alfredo, showed a dramatic flair in his high-spirited libiamo, his lovelornUn di felice, and his passionate Parigi o cara. – El Paso Inc.
Tenor John Bellemer (Alfredo)sang with a hero’s passion as he portrayed the emotions of love, jealousy and revenge. – El Paso Times
…all three gave credible performances, with Bellemer’s Alfredo taking top vocal honors. Bellemer sang with consistently pleasing tone and musicality, never pushing his voice beyond his natural capabilities and always singing on the breath. He was a convincing romantic lead in the Byronic mold, revealing the depth of his love for Violetta with straightforward honesty and direct ardor. – Out Now Magazine
