Benjamin Hulett
tenor
reviews
 • 

FOR CD REVIEWS, PLEASE VISIT DISCOGRAPHY

 • 

'Bevan's dark, supple soprano and Hulett's clean, lyrical tenor are brilliantly contrasted in the Italianate trio "The flocks shall leave the mountains"'

Anna Picard/ The Independent on Sunday, 03 August 2013
Independent on Sunday
Acis and Galatea - Iford Arts/Curnyn
 • 

'...this was a musical experience to be savoured. Benjamin Hulett's elegant tenor, every word distinct, 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.'

Rian Evans/ The Guardian, 31 July 2013
The Guardian
Acis and Galatea - Iford Arts/Curnyn
 • 

'Tenor Ben Hulett is another young British singer on the way up and the role of Acis certainly showed off his range with some limpidly elegant singing at the top of his voice which nailed the essence of Handel’s writing for this most sympathetic of characters. His “Love in her eyes sits playing” was a bewitching moment, but the darker elements of his voice also worked well in the second half. Like Bevan, he is due to make his debut at the Royal Opera House soon and with singing like this, he should make a real impact in the lighter repertory.'

Sue Loder/ Opera Today, 30 July 2013
Opera Today
Acis and Galatea - Iford Arts/Curnyn
 • 

'This is probably the most complete and convincing operatic performance I have seen this year.'

Jack Buckley/Seen and Heard, 1 July 2013
Seen and Heard
Curlew River - Opera di Roma/Conlon
 • 

'A Roma la interpreta Benjamin Hulett, di cui non sapremmo nemmeno dire se canta e recita bene oppure no (ma sì, diciamolo: canta e recita molto bene), perché tiene in suo potere lo spettatore dal momento in cui entra in scena con i capelli arruffati e i vestiti laceri di una barbona, lo sguardo da pazza, il sorriso ebete, spingendo furiosamente un carrello da supermercato carico dei miseri oggetti che costituiscono tutti i suoi beni.'

Mauro Mariani/Il Giornale della Musica, 28 June 2013
Il Giornale della Musica
Curlew River - Opera di Roma/Conlon
 • 

'Hulett’s pronunciation of the text was clear but never mannered, the gentle lyricism revealing his sense of wonderment and tentative but blossoming joy at the miracle which has occurred. Then, together, Aret and Narcissa celebrate their reunion and pledge eternal devotion; in this joyous, invigorating duet, ‘Entflohn ist nun der Schlummer’ (‘The slumber has now departed’), the crystal clear soprano of Devin blended beautifully with Hulett’s mellifluous tenor in shared ardency and joy... Hulett was excellent in his rage aria, expressing his fury at the murder of his son with forceful projection and accurate, supple coloratura, matched by incisive violin playing. He joined once again with Devin in their duet of mourning; their melancholy was eloquently expressed, the lines intricately crafted, the sighing appoggiaturas and chromatic inflections perfectly judged.'

Claire Seymour/ Opera Today, 30 May 2013
Opera Today
Tales of Ovid - Classical Opera Company/Page
 • 

'Aret's aria of wonderment at his and his fiancée’s resurrection requires long-breathed phrasing and intensity of utterance, which Benjamin Hulett supplied in full. The closing duet saw him partnered by Anna Devin: an inventive piece in which each voice gets its share of the upper line. His lyric tenor impressed by its freshness and brightness of tone, which was ideally suited to the lifting of the shadows as Aret and Narcissa were restored to life; the uninhibited way he released his top notes was also exciting. He repeated the dose as Oebalus in the aria ‘Utnavis’ in the final section of the 11-year-old Mozart’s version of the Apollo and Hyacinthus tale. Indeed he enhanced the good impression already made, offering a consistently ringing sound, impeccable enunciation of the words (in this case Latin!) and accuracy in the runs in which the aria abounds – a lyric tenor of considerable promise and international success.'

Richard Nicholson/Classical Source, 20 May 2013
Classical Source.com
Tales of Ovid - Classical Opera Company/Page
 • 

neuer frischer Tamino

Sybill Mahlke/Der Tagesspiegel, 7 April 2013
Der Tagespiegel
Die Zauberflote, Berliner Philharmoniker/Sir Simon Rattle
 • 

Fulminant, aber total unbekannt, Benjamin Hulett als Tamino, dem wirklich noch was von der Eierschale anhaftet, so frisch und unvorbelastet singt er. 

Kai Luehrs-Kaiser, kulturradio, 6 April 2013
Kulturradio
Die Zauberflote, Berliner Philharmoniker/Sir Simon Rattle
 • 

'Una menzione particolare merita la bella voce di tenore di Benjamin Hulett impegnato come Apparizione del giovinetto.'

Edoardo Saccenti/Operaclick, 17 February 2013
Operaclick
Die Frau Ohne Schatten, Amsterdam. Jurowski
 • 

'Benjamin Hulett war ein ausnehmend schön singender und phrasierender, koloraturensicherer Titelheld, dem Bach doppelt so viele Arien wie Mozart, nämlich vier, schenkte.'

Helmut Christian Mayer/ Kurier, 3 February 2013
Kurier
Lucio Silla, J.C.Bach - Salzburger Mozartwochen/Mozarteum Orchester/Ivor Bolton
 • 

'Er konnte auch auf ein so qualitätvolles wie homogenes Solistenensemble zählen. Voran den kraftvoll artikulierenden jungen britischen Tenor Benjamin Hulett für die Titelpartie...'

Walter Dobner/ Die Presse, 3 February 2013
Die Presse
Lucio Silla, J.C.Bach - Salzburger Mozartwochen/Mozarteum Orchester/Ivor Bolton
 • 

'Hulett, well supported by both instrumentalists, really succeeded in bringing the songs to life. He appeared truly immersed in the persona of the male suitor throughout and successfully took the audience through the songs’ different moods with impressive versatility. This interaction, combined with his excellent diction and energy, resulted in a thoroughly convincing, at times theatrical, performance. Technically, his singing appeared effortless and his beautiful tone was even across his range.'

Hannah Templeton, 10 December 2012
British Society for Eighteenth-Century Studies
Greene Amoretti - London Handel Festival
 • 

'Die Titelpartie sang mit Benjamin Hulett gewiss einer der besten Händel-Tenöre unserer Tage. Er faszinierte nicht nur durch den Wohllaut und die Strahlkraft seiner Stimme sowie seiner brillanten Koloraturen, sondern ebenso durch seine eminent stilsicher ausgeprägte Intensität im Ausdruck.'

Wolfram Frey, Pforzheimer Zeitung, 30 September 2012
Pforzheimer Zeitung
Jeptha, Klosterkonzerte Maulbronn
 • 

'Chor, Musiker und Solisten, voran der von den Staatsopern Hamburg und München, den Festspielen in Salzburg und Baden-Baden her bestens bekannte, grandiose Tenor Benjamin Hulett, wurden der effektgeladenen Musik des Komponisten aufs Perfekteste gerecht.'

Britta Steiner-Rinneberg/RheinMainTaunus, 21 August 2012
RheinMainTaunus-OnlineMagazine
Alexander's Feast, Kölner Kammerchor/Rheingau Music Festival
 • 

'...unterstützt unter anderem vom fabelhaften Tenor Benjamin Hulett, wird aus der barocken Festmusik ein sehr gegenwärtiges, vitales, vom Publikum anhaltend gefeiertes Ereignis.'

Volker Milch/Allgemeine Zeitung, 20 August 2012
Allgemeine Zeitung
Alexander's Feast, Kölner Kammerchor/Rheingau Music Festival
 • 

'Rhona McKail’s Nanetta and, especially, Benjamin Hulett’s Fenton, played as a gormless boy scout, sing with lyric beauty.'

Richard Fairman/The Financial Times, 26 July 2012
Falstaff, Opera Holland Park, July 2012
 • 

'Fenton is winningly portrayed by former New College choral scholar Benjamin Hulett'

Christopher Gray/The Oxford Times, 26 July 2012
Falstaff, Opera Holland Park, July 2012
 • 

'the men have a harder job standing out, but Benjamin Hulett makes something touching out of Fenton’s love song — a rare quiet moment ...'

Geoff Brown/The Times, 24 July 2012
Falstaff, Opera Holland Park July 2012
 • 

'Benjamin Hulett, looking like an overgrown schoolboy in his knee-length shorts and striped cap, was a superb Fenton. He has just the right ardent ‘ping’ to suggest over-enthusiastic youthful passion, and his yearning solo and subsequent duet with Rhona McKail (Nanetta) were among the highlights of the evening.'

Claire Seymour/Opera Today, 22 July 2012
Opera Today
Falstaff, Opera Holland Park, July 2012
 • 

'Add strong contributions from Rhona McKail and Benjamin Hulett as the young lovers, Nanetta and Fenton, and the outstanding quality of this Falstaff is assured.'

Mark Valencia/Classical Source, 21 July 2012
Classical Source.com
Falstaff, Opera Holland Park, July 2012
 • 

'Hulett sang quite splendidly, his ‘Dal labbro il canto estasïato vola’ finally releasing Fenton’s passionate ardour in a magical rendition.'

Mark Pullinger/Opera Britannia, 21 July 2012
Opera Britannia
Falstaff, Opera Holland Park, July 2012
 • 

'Benjamin Hulett is a mellifluously sung Fenton'

Keith Mc Donnell/Whatsonstage.com, 20 July 2012
Whatsonstage.com
Falstaff, Opera Holland Park, July 2012
 • 

'The best moment was perhaps the tenor Benjamin Hulett, as Hermes, hymning “divine music” itself, to a magical accompaniment of piano and harp.'

Paul Driver/The Sunday Times, May 2012
King Priam, Brighton Festival, May 2012
 • 

'... and the young tenor Benjamin Hulett a limpidly-voiced Hermes. He is one to watch.'

Neil Fisher/The Times, 29 May 2012
King Priam, Brighton Festival, May 2012
 • 

'Tenor Benjamin Hulett is unforgettable as evangelist: unlimited vocal flexibility and the capacity to fill the hall are put in service of a great desire to tell a story.'


Mischa Speel/NRC Handelsblad, 02 April 2012
Mattheus-Passion, Nederlands Bachvereniging March/April 2012
 • 

'Regarding the choice of singers the Bachvereniging has a good year. A more eloquent evangelist than Benjamin Hulett is hardly imaginable.'

Thiemo Wind/de Telegraaf, 02 April 2012
Mattheus-Passion, Nederlands Bachvereniging March/April 2012
 • 



'His reputation did precede him, and indeed, it was tenor Benjamin Hulett (34) who gave colour to the Thursday evening performance in the Royal Concertgebouw Orchestra’s AAA Series (Alive, Adventurous, Alluring). Hulett’s RCO debut consisted of a splendid interpretation of Venetian Journal, a theatrical piece by Bruno Maderna for tenor, orchestra and tape dating from 1972.

As singer and narrator, Hulett presented the work, set to a text by Jonathan Levy and written in the style of James Boswell’s eighteenth-century travel journals, with humour and passion.

The soloist, orchestra and conductor all treated the audience at the Concertgebouw in Amsterdam for twenty minutes to a memorable atmospheric description of the Italian city. After the fragments on tape, which instantly created an ‘old-fashioned’ ambience, the solo singer started chattering coquettishly about his visit to the opera, first in a speaking voice and later in lilting English, French and Italian, interlarded with snippets of sweet gondola songs and often corny or musing instrumental accompaniment. Comic in their exaggerated stateliness, the coloratura passages were a musical and theatrical high point.'

De Volkskrant/Translation by Josh Dillon, 17 December 2011
Maderna's Venetian Journal/Royal Concertgebouworkest, December 2011
 • 

‘Hij is Brit, vierendertig jaar jong en heeft een stem die verduveld veel kan. De tenor Benjamin Hulett debuteerde bij het Koninklijk Concertgebouworkest met een formidabele binnenkomer: 'Venetian journal' (1972) van Bruno Maderna. Het stuk is hem op het lijf geschreven, of beter, Hulett beheerst zijn instrument en lichaamstaal voorbeeldig en maakte de compositie volkomen tot de zijne. Soepeltjes kuste hij Venetie wakker met flarden dagboekaantekeningen naar James Boswell..’

Trouw, December 2011
Maderna's Venetian Journal/Royal Concertgebouw Orchestra, December 2011
 • 
De Zweefkunst van Benjamin Hulett
 
'Alles draait om karakter en kleur', zegt Benjamin Hulett. De jonge Brit spreekt niet over de driehonderd soorten thee waaruit hij zojuist zijn keuze heeft gemaakt. In een hip theehuis in het Noord-Franse Lille beschouwt hij zijn vak, de klassieke zangkunst, waarin de 34-jarige tenor een opmerkelijke opmars maakt.

Sommigen schrijven zijn naam zelfs al bij op een lijstje met illustere zangers die Engeland de afgelopen decennia heeft voortgebracht. Er staan geen heldentenoren of ander luidruchtig volk op, maar subtiele kunstenaars die boven een partituur zweven alsof zwaartekracht niet bestaat. De vorig jaar overleden tenor Anthony Rolfe-Johnson was er zo een. Ian Bostridge beheerst die glijkunst nog altijd. 

In Benjamin Huletts steile carrière kan het Nederlandse seizoen alvast niet meer stuk. In maart zingt hij bij de Bachvereniging de veeleisende Evangelistenrol in de Matthäus Passion. Kort na Nieuwjaar komt hij met Beethoven en Stravinsky naar de Radio Kamer Filharmonie. En deze week maakt de tenor zijn debuut bij het Koninklijk Concertgebouworkest. 

In zijn koffer zit Venetian Journal, een geestig stuk van Bruno Maderna uit 1972 dat om onnaspeurbare redenen zelden klinkt. De keuze rijmt bij de thematiek van Huletts debuut-cd Departures, vorig jaar verschenen, met een veelgeprezen selectie van Britse liederen die de gebaande paden verlaat.

Dat hij sindsdien niets aan karakter en kleur heeft verloren, demonstreert de tenor diezelfde avond in Lille. Hij zingt solo's in Die Schöpfung, het scheppingsverhaal op muziek van Haydn. Roze ochtendnevels en hemelse heerscharen: Hulett tekent ze uit met een lichte, beweeglijke, fraai getimbreerde stem.

Zijn zangersleven begon toen hij 7 jaar was. Hulett auditeerde bij het koor van Winchester Cathedral, een eeuwenoud instituut voor jongens, adolescenten en mannen, wier stemmen zijn toegesneden op devote renaissancemuziek en welluidende nieuwlichterij. 'Sindsdien ben ik niet meer gestopt. Het was dag in, dag uit zingen, ook tijdens vakanties. In zo'n koor leef je niet volgens de schoolkalender, maar volgens het kerkelijk jaar.' 

Later werd hij gerekruteerd voor de elite-kelen van New College in Oxford. Op z'n 20ste mocht hij mee naar Duitsland, voor een korte tournee met Bachs Weihnachts-Oratorium

En toen, in het vliegtuig, kwam de vermaarde dirigent Christopher Hogwood op hem af. 'Of ik een zieke solist wilde vervangen. Hoog boven de wolken heb ik mijn partij ingestudeerd. Tijdens de concerten bekroop me het gevoel dat een solocarrière misschien iets voor mij was.' 

In 2005 kon hij aan de slag bij de opera van Hamburg. Een jaar later hielp Hulett de ZaterdagMatinee uit de brand. Sindsdien vindt de prestigieuze concertserie elk seizoen wel emplooi voor de Engelse tenor. 

Herstel, Britse tenor. Want, zegt Hulett, anders denken kenners meteen aan de legendarische Peter Pears en andere vertegenwoordigers van de ranke, etherische school, die de intellectuele benadering van een tekst vaak plaatst boven de muzikaal-spirituele. 

'Het is de English blend die wordt gecultiveerd in koren: zachtjes dobberen aan de bovenkant van je stem. Terwijl ik ook andere karakteristieken nastreef, zoals meer diepte in de klank en een vloeiend legato. Zodat je met woorden meer kunt doen dan ze alleen maar keurig uitspreken.' 

Die vaardigheid zal goed van pas komen in Maderna's Venetian Journal. Bij het Concertgebouworkest vormt het werk de theatrale toets in een verder serieus symfonisch programma. Zingen, praten en kwelen - Maderna laat geen truc onbenut.

Hulett: 'Het zijn de dagboekaantekeningen van een idioot. De muziek is opgesplitst in deeltjes die elkaar vrolijk tegenwerken. Ironisch genoeg mondt de chaos uit in een strenge fuga. 
Natuurlijk gaat zo'n stuk niet over het etaleren van een mooie stem, je bent voortdurend bezig met het tot leven wekken van een tekst.' 

Ziedaar zijn ideaal. 'Ik zing vier eeuwen repertoire, van Monteverdi tot vandaag. Het zou raar zijn als je die muziek benadert met één, uit duizenden herkenbaar geluid. Ik vind het een dubieus compliment wanneer de luisteraar bij mijn concerten denkt: ha, typisch Ben Hulett!' 

 
Guido van Oorschot, 15 December 2011
De Hand van Guido
Interview in De Volksrant
 • 

'...the clean, soulful tenor of Benjamin Hullet marks him out as someone to watch.'

Simon Thompson/Seen and Heard, 29 October 2011
Mozart Requiem/Royal Scottish National Orchestra, Peter Oundjian, October 2011
 • 

'Outstanding tenor arias (Benjamin Hulett)'

Anna Picard/ The Independent, 25 September 2011
Sir Jonathan Miller St Matthew Passion/National Theatre, 2011
 • 


' ... outshone only by fellow tenor Benjamin Hulett'


March Beech/bloomberg.com, 23 September 2012
Sir Jonathan Miller St Matthew Passion/National Theatre, 2011
 • 

'the beauty of Benjamin Hulett’s singing takes the breath away...'


Michael Church/The Independent, 20 September 2011
Sir Jonathan Miller St Matthew Passion/National Theatre, 2011
 • 



'...Hippolyt... der von Benjamin Hulett mit einem kraftvollen, scharf skandierten Tenor glänzend gesungen wurde.'

Tobias Roth/Klassik.com, 09 July 2011
Phaedra, Deutsche Staatsoper Berlin, July 2011
 • 

'Benjamin Hulett made a surprisingly eloquent impression as Quint...'

Michael White/Opera Now, Jan/Feb 2011
Turn of the Screw, Opera North 2010
 • 

'...la espléndida prestación del tenor Benjamin Hulett, timbre natural, sin impostación teatral, capaz de apianar los agudos sin caer en falsete y muy inteligente en el carácter contrastado de los poemas...'

laprovincia.es, 31 January 2011
Serenade for Tenor, Horn and Strings: Stuttgart Radio Symphony Orchestra/Sir Roger Norrington, 2011
 • 

'...und der fabelhaft artikulierende junge englische Tenor Benjamin Hulett, der schon die ersten Stufen einer Wetkarriere erklommen har, waren im Verein mit dem sensibel begleitenden Sir Roger fraglos eine Traumbesetzung und wurden angemessen gefreit.'

Waltraud Brunst/Mannheimer Morgen, 18 January 2011
Morgenweb.de
Serenade for Tenor, Horn and Strings: Stuttgart Radio Symphony Orchestra/Sir Roger Norrington, 2011
 • 

'The house tabs rise to reveal a gauze in front of which Benjamin Hulett in a sombre, modern lounge suit delivers with ringing clarity the scene-setting prologue with its eerie solo piano accompaniment... Benjamin Hulett sings both Prologue and Peter Quint. The silvery timbre of the voice imbues his Quint with a seductive quality and yet there is sufficient edge to convey menace.'

Geoffrey Mogridge/Opera Britannia, 13 October 2010
Opera Britannia
Turn of the Screw, Opera North 2010
 • 

'...Benjamin Hulett's ultra-musical, mellifluous Quint and Prologue...' 

Hugh Canning/The Sunday Times, 10 October 2010
Turn of the Screw, Opera North 2010
 • 

'Hulett's Quint moves cat-like, his red hair brightening with each twist of Britten's variations, his voice transformed from the clipped upper-class diffidence of the Prologue to a heroic, insinuating oiliness...'

Anna Picard/ The Independent on Sunday, 10 October 2010
Turn of the Screw, Opera North 2010
 • 

'Giselle Allen and Benjamin Hulett were precisely sphinx-like as Quint and Jessel.'

Fiona Maddocks/ The Observer, 10 October 2010
Turn of the Screw, Opera North 2010
 • 

'Hulett sets the standard vocally with an exemplary account of the Prologue'

Andrew Clements/ The Guardian, 5 October 2010
Turn of the Screw, Opera North 2010
 • 

'Benjamin Hulett is both seductive and repellent as Quint.'

Rupert Christiansen/ The Telegraph, 4 October 2010
Turn of the Screw, Opera North 2010
 • 

...Benjamin Hulett’s dangerously clean-cut Quint...'

Richard Morrison/The Times, 4 October 2010
Turn of the Screw, Opera North 2010
 • 

'The most exciting singing of the evening comes from Benjamin Hulett, shaping the Prologue elegantly and singing Peter Quint with an intensity...'

Ron Simpson/What's On Stage , 2 Ocotber 2010
Whatsonstage.com
Turn of the Screw, Opera North 2010
 • 

'I especially liked the rounded high tenor of Benjamin Hulett’s Young Servant.'

Mark Berry/Seen and Heard, 16 August 2010
Seen and Heard
Elektra/Salzburger Festspiele
 • 

'...Benjamin Hulett as Leszcuk, whose appealing tenor is able to present beautiful legato singing as well as preciseness.  And on top of that here is a singer whose acting is totally believable.' 

Das Opernglas, February 2010
Die Besessennen, Theater an der Wien
 • 

'The tenor Benjamin Hulett had the tricky task of making a case for The Red Cockatoo and Other Songs, a miscellany composed by Britten over a period of 25 years from 1935 and published posthumously. Hulett interpreted their often homely sentiments thoughtfully and with conviction.'

Lynne Walker/Financial Times, 22 June 2009
Britten Song Cycles, Blythburgh Church, Aldeburgh Festival
 • 

'As the young Baron, Ben Hulett radiated strong charisma and is a good find for Buxton: his light tenor voice with subtle vibrato was strong and effortlessly punched through with the top line of the stirring Hunting chorus. In fact his stage presence was excellent throughout... I hope we will see more of these two singers at Buxton next year: their third act duet was a delight.'

Raymond J Walker/Seen and Heard International, 10 July 2008
Seen and Heard
The Poacher (Der Wildschutz), Buxton Festival Opera
 • 

'Benjamin Hulett shone in a cast that includes James Rutherford and Judith Howarth.'

The Telegraph, July 2008
The Poacher (Der Wildschutz), Buxton Festival Opera
 • 

Ashley Holland and Benjamin Hulett spar impressively in the central billiard scene

The Guardian, July 2008
The Poacher (Der Wildschutz), Buxton Festival Opera
 • 

'Benjamin Hulett, a remarkably elegant young British tenor working in Germany'

Yorkshire Post, July 2008
The Poacher (Der Wildschutz), Buxton Festival Opera
 • 

The cast, led by James Rutherford as the donkey-shooting, bride-bartering Baculus, Benjamin Hulett as the stylish, sweet-toned Baron and Ashley Holland as the bullying Count, are lively actors and good singers, getting most of the text across.

The Sunday Times, July 2008
The Poacher (Der Wildschutz), Buxton Festival Opera
 • 

'Benjamin Hulett brings a honey-toned tenor voice (we will surely hear more of it) to bear on the role of the Baron'

Sheffield Telegraph, July 2008
The Poacher (Der Wildschutz), Buxton Festival Opera
 • 

'This is Baron Kronthal, a difficult part for high tenor voice superbly sung by Benjamin Hulett, a former New College choral scholar and now a principal at the Hamburg State Opera.'

Oxford Mail, July 2008
The Poacher (Der Wildschutz), Buxton Festival Opera
 • 

'Ian Bostridge’s tenor ... provided a beautiful contrast with the timbre of the remarkable young British tenor Benjamin Hulett (Idomeneo’s support Arbace).'

Bela Luttmer/ De Volksrant, 13 May 2008
Idomeneo, Europa Galante
 • 

'In the small role of the minister Arbace, a confident young British tenor currently based in Hamburg suggested that he is ready to give Bostridge a run for his money: Benjamin Hulett, clearly a name to watch out for.'

The Telegraph, May 2008
Idomeneo, Europa Galante
 • 

'It worked: even Arbace, sung by the outstanding young tenor Benjamin Hulett, became a proactive confidant, something unheard of.'

The Spectator, May 2008
Idomeneo, Europa Galante
 • 

'Benjamin Hulett's gamely sung Arbace made up an excellent cast'

The Times, May 2008
Idomeneo, Europa Galante
 • 

'I had not heard tenor Benjamin Hulett before, but even in the minor role of Arbace his warm, supple sound was a revelation; Bostridge – currently being  feted at the Barbican as the voice of the age – was in a company of equals.'

The Independent, May 2008
Idomeneo, Europa Galante
 • 

'...während Benjamin Hulett den Tenorpart tadellos, beinahe knabenhaft im Ausdruck ablieferte.'

Wiener Zeitung, 11 February 2008
Missa Solemnis, Wiener Konzerthaus - Mozarteum Orchester Salzburg
 • 

'The young British tenor Benjamin Hulett, a member of the solo ensemble of Hamburg State Opera since 2005, was especially celebrated in both operas (A Midsummer Night's Dream and Billy Budd). Benjamin Hulett has a wonderfully lyrical and unbelievably tender tenor. He understood and felt the emotional depths and the harmonic, rhythmic and melodic finesse of the songs (Winter Words). Above all, he interpreted them with a broad spectrum of dynamics and colours in the voice and with great intensity... He sang an interpretation as touching as it was intelligent. This is a young singer from whom we will certainly hear a lot more.'      

Elisabeth Richter/NDR Kultur, 11 December 2007
Liederabend with Simone Young
 • 

'A real plus in this “tale” was “Frantz’s” wacky arietta. I usually squirm through this as the aging character tenor play-acts at “cracking” the high note, and coughs and wheezes a bit, well, you know, embarrassing, right? In this case, young Hulett was a closet ballerina, or cross-dresser, or both (and why not?). As his dance moves gave way to more strip-tease abandon, he revealed himself to be wearing a camisole, and fishnet stockings, and, after holding a leg up high to one side while singing the last bars, he ended in a really decent split to considerable audience approval! No fooling, this was an inspired moment.'

James Sohre/Opera Today, 30 October 2007
Opera Today
Les Contes d'Hoffmann, Hamburg State Opera 2007
 • 

'It offered two shining stars in Giuseppe Filianotti, an ardent, agile and sympathetic Hoffmann who carried the production on his capably youthful shoulders, and Benjamin Hulett, who played all the servant and transformed Franz's often tiresome solo number into a cross-dressed tour-de-force.'

Opera Now, 2007
Les Contes d'Hoffmann, Hamburg State Opera 2007
 • 

'The casting is superb... As his victim, the Judas-like Novice, Benjamin Hulett has enough wraith-like vulnerability to make his fear seem real and enough refined lyricism to make us feel for him even as he betrays Billy.'

Opera, 2007
Billy Budd, Hamburg State Opera