Vocalist - Baritone
Acclaim
Out of Darkness: Two Remain - Atlanta Opera

"Baritone Ben Edquist, a graduate of the Houston Grand Opera Studio, sang the role of the poet [Manfred] Lewin with stunning beauty, especially within the poignant and tango-esque 'A Hundred Thousand Stars.'"

Stephanie Adrian, Opera News
Out of Darkness: Two Remain is Perfect for its Time

"As Manfred, baritone Ben Edquist is a young singer to watch. His smooth velvety baritone and shimmering, floated top were instrumental in making the show as strong as possible. His aria 'One by one' was one of the most dramatically intense pieces that I've ever been privileged enough to see live."

Daniel Weisman, Schmopera
“Out of Darkness” is a brilliant, haunting watershed for the Atlanta Opera

"Ben Edquist is the ghost of Manfred, and he’s an electrifying presence."

Jim Farmer, Arts ATL
Atlanta Opera captures 2 powerful stories in ‘Out of Darkness’

"Some recollections have an intriguingly jazzy edge to them, and the appealing “Golden Years,” beautifully rendered by Edquist, in which Manfred recalls the naughty and glamorous life of Berlin nightlife in the ’20s and ’30s, wouldn’t sound at all out of place in a Broadway musical."

Andrew Alexander, Atlanta Journal Constitution
HGO’s “Glory Denied” proves a visceral triumph in (another) unconventional space

"Ben Edquist, in the role of Older Thompson, was exceptional in embodying the different aspects of his character with a rich, robust baritone and impressive acting. The range of expression he achieved was astounding—a voice of glinted steel as the tormentor in Act I, an increasingly desperate voice full of confusion, bitterness, and anguish, rambling out a list of things he no longer understands about his country in the 'Welcome Home' solo—moving from a self-assured, controlled voice in his address to the congregation, to his aching solo as a drunken, broken man."

Sherry Cheng, Texas Classical Review
Prince of Players – Houston Grand Opera

“Edquist’s warm, soothing voice and youthful, fresh-faced appearance, were effective in realizing Kynaston's ambiguous sexuality and his gender-shifting performances, either as passive female (when playing Desdemona in an onstage Othello) or aggressive and murderous male (as Othello).”

Gregory Barnett, Opera News
At Glimmerglass Festival, ‘The Magic Flute’ Is Among the Reimagined

“Other standouts, all from the festival’s Young Artist program, were Ben Edquist, a delightful Papageno.”

James R. Oestreich, New York Times
Glimmerglass Festival: no better place for The Magic Flute and Candide

“Ben Edquist had so much going for him in his first time in the role of Papageno, and clearly has many more refractions of this luscious clown in him to steal the show in decades of productions.”

Susan Galbraith, DC Theatre Scene
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