Vocalist - Tenor
Acclaim
BSO’s stripped down ‘La Boheme’ puts music above spectacle

"Bellemer’s tenor voice was strong, resonant and charming."

Judy Harrison, Bangor Daily News
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
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: Review
"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
Wexford Festival Opera 2012
"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
A Village Romeo and Juliet
"As the lovers, John Bellemer as Sali and Jessica Muirhead as Vreli, give a committed and moving performance."
Clare Colvin, The Sunday Express (UK)
Delius's forgotten opera takes glorious centre stage at Wexford Festival
"John Bellemer and Jessica Muirhead are ideal as the lovers, well-matched, starkly convincing."
Antony Craig, Gramophone
A Village Romeo and Juliet: Review
"John Bellemer’s Sali and Jessica Muirhead’s Vreli rise to the quasi-Wagnerian challenges of the title roles."
George Hall, The Stage (UK)
"The singers, all possessed of crisp diction, were excellent. John Bellemer sang Sandy with a tenor of arresting sweetness."
George Loomis, Musical America
The Lighthouse, John F. Kennedy Presidential Library and Museum, Boston
"The singing was uniformly excellent in Boston Lyric Opera's taut production of this psychological thriller."
George Loomis, Financial Times
The Lighthouse by Peter Maxwell Davies
"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
BLO illuminates Peter Maxwell Davies's The Lighthouse Beams of light and fright
"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
BLO serves Maxwell Davies well with a haunting and effective "Lighthouse"
"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
Did They Crumble Into Thin Air? Only the Fog Could Tell
"The men in this production - in confident performances by the tenor John Bellemer, the baritone Christopher Burchett and the bass-baritone David Cushing - walk among the audience, on trails of fabric made to look like rocks."
Zachary Woolfe, New York Times
Buxton Festival, Opera House, Buxton, review
"John Bellemer sang with gusto as her lover."
Rupert Christiansen, Telegraph (UK)
Review: Buxton Festival Opera
"It was the American tenor, John Bellemer, in the role of her lover, Riccardo, who captured my attention."
David Denton, Yorkshire Post
Buxton Festival 2011 - Breaking new ground with three distinctive home grown productions
"John Bellemer ... [sang] a well-phrased and lyrically dramatic and convincing role, ... his well supported voice freeing up to ring with impressive and imperative phrasing."

Robert J Farr, Seen and Heard International
Review: Maria di Rohan
"The evening wins its spurs through high-quality singing. Mary Plazas's intelligent commitment as Maria, Mirouslava Yordanova's suave elegance as Armando, William Dazeley's fierce bel canto anger as Chevreuse and John Bellemer's indecisive tenor romantics as Chalais all impress."
George Hall, The Stage (UK)
Maria di Rohan - review
"It's ultimately the men, more sharply drawn, who give the work its force. John Bellemer is the easy-voiced, charismatic Chalais ..."
Tim Ashley, The Guardian (UK)
'Lucia di Lammermoor': Gone mad again by 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
Devil is in the details of HOT's excellent 'Faust'
"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
Verdi: Luisa Miller
" ... the ardent tenor of John Bellemer makes an ideal Rodolfo."
David Denton, Yorkshire Post
Luisa Miller, Buxton Opera House
"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)
Luisa Miller, Buxton Opera House, Derbyshire
"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
Luisa Miller, Buxton Opera House
"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
Buxton Festival 2010
"John Bellemer (Rodolfo) returned after success in last year's Lucrezia Borgia and proved himself again a very fine lyrical tenor, with enough steel in him to carry the hero's role effectively."
Robert Beale, City Life
Bravo Buxton; Luisa Miller Lights Up Festival
"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
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