Return to Carnegie Hall

In June, Isaiah will be back at Carnegie Hall, singing excerpts from Haydn’s Creation.

See the Schedule page for details.


Rufus Wainwright’s Hadrian

In the fall of 2018, Isaiah will originate the role of Antinous, Hadrian’s doomed lover, alongside Thomas Hampson, Karita Mattila, and Ben Heppner in the world premiere of Rufus Wainwright’s Hadrian at the Canadian Opera Company.

See the Schedule page for details.


Profile in Opera Canada

Opera Canada magazine published a profile of Isaiah, by Joseph So, in a recent issue. Read it here.


Cavalli in Innsbruck

In the summer of 2018, Isaiah makes his debut at the Innsbruck Festival of Early Music in Austria, in Cavalli’s Gli amori d’Apollo e di Dafne.

See the Schedule page for details.

Handel at Caramoor

This summer, Isaiah will sing the role of Aminta in Handel’s Atalanta at the Caramoor festival in New York. Nicholas McGegan conducts the Philharmonia Baroque Orchestra.

See the Schedule page for details.


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.


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


| April 19-28, 2018 |

Monteverdi: Il ritorno d'Ulisse

Role: Eurimaco

Opera Atelier with
Tafelmusik Baroque Orchestra
The Elgin Theatre, Toronto


| May 5, 2018 |

Mozart: Mass in C Minor & Arias

Robert Cooper, conductor

Chorus Niagara
St. Catharines, ON


| March 10, 2018 |

Bach: Mass in B Minor

Peter Butterfield, conductor

Victoria Philharmonic Choir
Victoria, BC


| February 24, 2018 |

Schubert: Winterreise

Isaiah Bell, tenor
Anna Cal, piano

Tudor House
Victoria, BC

| December 28-30, 2017 |

Beethoven: Symphony no. 9

Alastair Willis, conductor

Seattle Symphony
Benaroya Hall, Seattle