News

 

Carnegie Hall Debut

On April 8th, Isaiah appeared for the first time on a Carnegie Hall stage, in the finals concert of the Oratorio Society of New York’s Solo Competition in Weill Recital Hall. He won third place and the Docia Goodwin Franklin Award, singing arias by Handel and Haydn.

 

Curlew River at BAM

In March, Isaiah revisited the role of the Madwoman in Mark Morris’ production of Curlew River, giving what The New York Times described as “a performance of exquisite poignancy.” The piece was paired with Morris’ Dido and Aeneas, starring internationally renowned mezzo-soprano Stephanie Blythe as both Dido and the Sorceress.

 

Beethoven in Seattle

Isaiah appears for the first time as tenor soloist in Beethoven’s Ninth Symphony, alongside soprano Angela Meade, mezzo Margaret Gawrysiak, and baritone Michael Sumuel. Alastair Willis conducts the Seattle Symphony.

See the Schedule page for details.

 

Back with the Toronto Symphony

After his 2015 debut with the orchestra in George Benjamin’s Written on Skin – alongside new music star Barbara Hannigan in the role created for her – and a performance of Messiah in which he “took the technical challenges of the work with a swaggered ease” (Musical Toronto), Isaiah returns to sing with the Toronto Symphony in June, as the Father in Kurt Weill’s Seven Deadly Sins.

See the Schedule page for details.

 

Monteverdi with Opera Atelier

In April 2018, Isaiah will make his debut with Canada’s Baroque opera company, Opera Atelier, as Eurimaco in Monteverdi’s Il ritorno d’Ulisse in patria.

See the Schedule page for details.

 

Review: Handel in San Francisco

Bell boasts a strong, glorious voice with heroic, oratorio-style ring. Soaring easily into light sweetness at the start of the duet, he subsequently demonstrated that he can produce multiple colors lower in the range and darken his instrument to proclaim with authority when necessary…Bell’s sound is so classic English, and so fresh, that one can simply hope that he will sing as wonderfully as he did on Friday for decades to come.

- San Francisco Classical Voice, reviewing Handel’s Ode for St. Cecilia’s Day with Philharmonia Baroque, December 2015.

 

Marlow in Heart of Darkness: Review

The San Francisco Chronicle, reviewing the American premiere of Tarik O’Regan’s Heart of Darkness at Opera Parallèle in May 2015, described Isaiah’s performance in the lead role of Marlow as “sung with exquisite lyricism and an air of heroism…” Read the whole review here.

 

Mendelssohn with the Vancouver Symphony: Review

Seen and Heard International, reviewing the Vancouver Symphony’s February 20th performance of Mendelssohn’s Symphony No. 2 (“Lobgesang“), said:

Isaiah Bell was quite stunning in his vocal subtlety and strength. Bell’s voice is so pure and full, with such a lovely ring and evenness in his tone production. His renderings of both “Saget es, die ihr erlöst seid…” and “Stricke des Todes” were events in themselves, and added noticeably to the electricity of the proceedings.

Read the whole review here.

Next on Stage

 

| June 3-4, 2017 |

Monteverdi: Vespers of 1610

Victoria Philharmonic Choir
St. Andrew's Cathedral
Victoria, BC

 

| June 14 & 15, 2017 |

Weill: The Seven Deadly Sins

Joel Ivany, director
Peter Oundjian, conductor
Jennifer Nichols, choreographer

Toronto Symphony Orchestra
Roy Thomson Hall, Toronto

Recently

 

| May 9, 2017 |

Handel: Joshua

Victoria Choral Society
Christ Church Cathedral
Victoria, BC

 

| April 8, 2017 |

Finals Concert:
Lyndon Woodside Competition

Oratorio Society of New York
Carnegie Hall
New York City