PRESS

“It is almost infuriating that something could be so good.”

––Schmopera (2022)

“Benjamin P. Wenzelberg… goes from strength to strength in his significant commitment to opera at Harvard.”

––Boston Musical Intelligencer (2020)

Past Reviews

"...The rich-voiced boy soprano Benjamin P. Wenzelberg" [concert with Dawn Upshaw & Gil Kalish]

––CORINNA da FONSECA-WOLLHEIM, New York Times

"Benjamin P. Wenzelberg almost steals the show as the troubled boy Miles." [New York City Opera: Britten’s The Turn of the Screw]

––ANTHONY TOMMASINI, New York Times

Selected for New York Magazine's approval matrix in the "brilliant/high brow" section [New York City Opera: Britten’s The Turn of the Screw]

"Wenzelberg navigated Miles’s tricky music with ease and still had ample mental space left over to fully commit to a character. Britten entrusts the singer who plays Miles with a psychologically complex character, one typically far beyond the years of your typical pre-teen. The ovation that audience gave Wenzelberg was not the obligatory one given to a precious child actor, but one given in appreciation of a consummate artist." [New York City Opera: Britten’s The Turn of the Screw]

––STEVEN JUDE TIETJEN, Opera Pulse

"Benjamin P. Wenzelberg sang the boy Miles with the assurance of a seasoned adult." [New York City Opera: Britten’s The Turn of the Screw]

––WQXR

"Thirteen-year-old Benjamin P. Wenzelberg as Miles has a charismatic stage presence and a treble voice that is a marvel. Both his singing and acting imparted depth of feeling." [New York City Opera: Britten’s The Turn of the Screw]

––Classical Source

"As in Shakespeare, the last word goes to the faeries, with some beautiful singing from the four child singers playing the principals (including the young Britten specialist Benjamin P. Wenzelberg as Mustardseed)." [Metropolitan Opera: Britten’s A Midsummer Night’s Dream]

––PAUL J. PELKONEN, Super Conductor

“Benjamin P. Wenzelberg, a boy treble, sang with intensity and focus, keenly enacting Miles’s knife-edge balance as victim and villain.” [Opera Moderne: Britten’s The Turn of the Screw”]

––STEVE SMITH, New York Times

"In the title role Benjamin Wenzelberg proved himself a little star: bell-like voice and stage dominating presence." [David Geffen Hall: Menotti’s Amahl and the Night Visitors with Little Orchestra Society]

 ––The Tyro Theatre Critic

Photo: Theresa Pewal