Benjamin Hulett trained as a choral scholar at New College, Oxford and studied with David Pollard at the Guildhall School of Music and Drama. He was a member of the Hamburgische Staatsoper from 2005 to 2009. He has since made debuts at the Bayerische Staatsoper, Deutsche Staatsoper, Wiener Staatsoper, Theater an der Wien, the Salzburger Festspiele, Festspielhaus Baden-Baden, the Royal Ballet and Opera, Madrid's Teatro Real and the Opera di Roma.
Particular highlights have included Tom Rakewell The Rake's Progress for Opéra Caen, Opéra de Reims, Opéra de Rouen and Théâtre de la Ville de Luxembourg; The Rector Peter Grimes at Teatro alla Scala, Milan; Kudrjas Kat'a Kabanova for the Salzburger Festspiele and Opéra de Lyon; Lysander A Midsummer Night's Dream at the Deutsche Oper, Berlin and for the Glyndebourne Festival and Tamino Die Zauberflöte for the Royal Ballet and Opera and in concert with the Berliner Philharmoniker under Sir Simon Rattle.
In the UK, Benjamin has performed with the Royal Ballet and Opera, the Glyndebourne Festival, Opera North, Grange Park Opera, Opera Holland Park, Garsington Opera, Welsh National Opera, and at the National Theatre in Sir Jonathan Miller’s staging of Bach's St Matthew Passion.
This season sees Benjamin perform in three of Handel's operas - as Vitaliano in Giustino at the Royal Ballet and Opera’s Linbury Theatre, as Abner, High Priest, Amalekite and Doeg in Saul for Oper Köln and as Bajazet in Tamerlano for the London Handel Festival . Benjamin also returns to Garsington in Il ritorno d’Ulisse conducted by Laurence Cummings.
On the concert stage he sings Messiah at the Musikverein, The Dream of Gerontius with the Tampere Philharmonic and Matthew Halls, St Matthew Passion with the Bach Choir and David Hill, The Kingdom at the Royal Festival Hall, The Creation with the George Enescu Philharmonic Orchestra under Paul McCreesh and Henze's Voices with the London Sinfonietta at the Aldeburgh and Holland Festivals.
Benjamin’s wide range of recordings have received nominations and awards from BBC Music Magazine, Gramophone, Grammy, L’Orfee d’Or and Diapason.
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Edmund Rubbra: Crucifuxus Pro Nobis / Choir of Merton College Oxford
March 2026
GRAMAPHONE - EDITOR'S CHOICE: "a significant addition to the Rubbra discography, Hulett’s golden-toned contribution being especially gratifying."
Andrew Achenbach, Gramophone
"This recording benefits hugely from the outstanding singing of Benjamin Hulett. He sings with a clear, plangent tone, which suits both words and music, and his performance is very expressive."
John Quinn, MusicWeb
"The work opens with Hulett's exquisite voice – lyrical, eloquent, and perfectly calibrated to the sentiment – accompanied by harp and organ in a balance that never overwhelms."
Andrew Palmer, Chimeo
Handel: Tamerlano
London Handel Festival / March 2026
"Tenor Benjamin Hulett was spectacular as Bajazet, right from the lovely, stately aria, ‘Forte e lieto’ through to the astonishing strength (and range – it goes low for a tenor) of ‘Empio, empio, per fartti guerra’ towards the opera’s close."
Colin Clarke, Opera Today
"Benjamin Hulett combines nobility and spite as Bajazet, his flexible tenor liquid gold."
Clive Paget, The Guardian
"As the Emperor Bajazet, tenor Benjamin Hulett – one of the four characters dressed in ancient historical costume – gives a simultaneous masterclass in verbal clarity and nuanced, mellifluous singing."
Rachel Halliburton, The Arts Desk
"Benjamin Hulett was authoritative and agonised, injecting his tenor with fire in the aria “Empio, per farti guerra”, and great pathos in his death scene in the balcony above the stage."
Mark Pullinger, Bach Track
" Hulett's dramatic instinct took over so that here, and in the climactical death scene he was terrific. Powerful and incisive, yet the coloratura never felt effortful; his sense of line was terrific, yet his words were admirably clear. This was a performance we need to hear again, in a more sympathetic production."
Robert Hugill, Planet Hugill
The Kingdom / Oxford Bach Choir and Bournemouth Symphony Orchestra
Oxford, March 2026
"A strong quartet of soloists soared...Ben Hulett’s John [was] brilliant and ringing"
Alexandra Coghlan, The Guardian
BACH St John Passion | BBC Philharmonic | Nicholas Kraemer
Bridgewater Hall, Manchester, Mar 2024
"Benjamin Hulett then took up the story, with a lovely, lyrical, agile and flexible tenor, with expressive word painting.
Benjamin Hulett was electrifying in his description of the curtain of the temple being torn in two, with its onomatopoeic falling cello motif."
Nick Holmes Music
HANDEL Messiah
BBC Proms, Sep 2024
"Benjamin Hulett shone brightest among the soloists, singing with supple strength and palpable enthusiasm."
The Guardian
"But from the moment that the engaging Benjamin Hulett took the stage – appropriate term for a dramatic approach – and Mozart's bucolic woodwind enhanced his lovely "Every Valley" right through to the end, vivacity took off and never deserted the performance."
The Arts Desk
"...the tenor Benjamin Hulett winning the eloquence prize..."
The Times
Benjamin Hulett's Opera repertoire
| Adès | Ferdinand, The Tempest |
|---|---|
| Beethoven | Jaquino, Fidelio |
| Britten | Novice, Billy Budd Madwoman, Curlew River Lysander, Flute, A Midsummer Night’s Dream Peter Quint, The Turn of the Screw |
| Handel | Oronte, Alcina Grimoaldo, Rodelinda |
| Henze | Hippolyt, Phaedra |
| J.C. Bach | Title role, Lucio Silla |
| Kalitzke | Lesczcuk, Die Besessenen |
| Monteverdi | Arnalta, Lucano, L’incoronazione di Poppea |
| Mozart | Ferrando, Così fan tutte Don Ottavio, Don Giovanni Arbace, Idomeneo Tamino, Die Zauberflöte |
| Rossini | Giocondo, La Pietra del Paragone |
| R. Strauss | Narraboth, Salome Junger Diener, Elektra Die Erschienungs eines Jünglings, Die Frau ohne Schatten |
| Stravinsky | Tom Rakewell, The Rake's Progress |
| Wagner | Steuermann, Der fliegende Holländer |
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