Throughout a career which has spanned more than three decades, Kim Begley has remained in demand for operatic engagements across Europe and North America, having performed leading roles at the opera houses in Frankfurt, Barcelona, Dresden, as well as in Amsterdam, at both the Opera national and Théâtre du Châtelet in Paris, at La Scala Milan, Berlin’s Staatsoper, Grand Théâtre de Genève, The Metropolitan Opera, Lyric Opera of Chicago and San Francisco Opera.
Last season brought a highly-acclaimed return to English National Opera, firstly as Walter in David Pountney’s production of Mieczyslaw Weinberg’s The Passenger, followed by Captain Vere in David Alden’s new production of Billy Budd under Music Director, Edward Gardner. The current season sees two role debuts: in Paris as Selim (The Rake’s Progress) and in Montpellier as Aegist (Elektra), as well as Loge (Das Rheingold) with Opera national de Paris, conducted by Philippe Jordan.
"As the well-meaning but weak-willed Captain Vere, the tenor Kim Begley gave an agitated and vocally piercing performance. [His] burnished, sizable voice lent a heroic dimension to the captain’s torment." (The New York Times, June 2012)
"Kim Begley's familiar Herod remains a compelling compound of handsome lyricism and focused lechery." (Salome - Baden Baden Festspiele - Opera Magazine, October 2011)
"The whole thing depended on the intensity and intellect with which Kim Begley as Loge acted under Krämer's direction. From the moment he emerged from the globe - how else? - with fiery hands and surveyed the unsavoury state of affairs, he took the action in hand. Begley was exactly the right singer for this central role: not only is he blessed with a strong, expressive voice, he was also able to switch from delightful comedy to deadly gravity in an instant. It was an enticing character study of this elusive character" (Opera, July 2010)
"... a commanding performance by English tenor Kim Begley as Captain Vere...' (The Wall Street Journal, April 2010)
"Tenor Kim Begley was a magnificent Herod, singing with precision and tonal brilliance in a role that is all too often approximated...' (San Francisco Gate, October 2009)