Australian-American bass Joshua Bloom is frequently praised for his "resplendent bass" and "huge vocal capacity" alongside an "outstanding dramatic precision and power", (New York Times, Independent) across a remarkable variety of repertoire from Mozart, to Wagner and Strauss, to world premiere works by Gerald Barry and Richard Ayres. He has sung principal roles with Oper Köln, English National Opera, Garsington Opera, the Royal Opera House, San Francisco Opera, Wiener Staatsoper, LA Opera, Opera Australia, New York’s Metropolitan Opera, Washington National Opera, Santa Fe Opera, Badisches Staatstheater, Irish National Opera, and New Israeli Opera, among others.
Bloom has also appeared on the concert stage with the Berlin Philharmonic, New York Philharmonic, all of the major London orchestras, the Los Angeles Philharmonic, the City of Birmingham Symphony Orchestra, Britten Sinfonia, the Auckland Philharmonia and the Birmingham Contemporary Music Group as well as the Melbourne, Queensland, Adelaide and Western Australian Symphonies.
Highlights of Bloom's 20/21 season, while still changing, include joining the BBC Scottish Symphony Orchestra for a live BBC broadcast of Shostakovich Symphony No.14, conducted by Mark Wigglesworth; he appears for the first time at the prestigious contemporary music festival New Opera Days in Ostrava to perform The Garden, by Richard Ayres – the opera written for him for solo Bass, Orchestra, and Electronics, which he premiered with the London Sinfonietta and Asko Schoenberg last season. He will perform Shostakovich Symphony No. 14 elsewhere internationally throughout the season; he is scheduled to return to the Royal Opera House and English National Opera; he will make his debut with the Czech Philharmonic Orchestra; and will return to Garsington Opera for Cal McCrystal’s new production of Rossini Le comte Ory, and to work once more with the London Philharmonic Orchestra and Edward Gardner.
Highlights of the last two seasons include Méphistophélès in Berlioz Le Damnation de Faust, with Edward Gardner at the City of Birmingham Symphony Orchestra, Hunding in Wagner Die Walküre with Graeme Jenkins in Lisbon, The Ghost of Old Hamlet/Gravedigger in a new production of Brett Dean’s acclaimed Hamlet, Faraone in Rossini’s virtuosic Mosè in Egitto for Oper Köln, Swallow in Britten Peter Grimes for the International Enescu Festival; Bottom in A Midsummer Night’s Dream, with English National Opera in the iconic Robert Carsen production; title role in Bartok Bluebeard’s Castle, in a new production by Enda Walsh; a house debut at the Royal Opera House in the world premiere production of Gerald Barry Alice’s Adventures Underground, and Kaspar in Der Freischütz in the International Hyogo Festival of the Performing Arts, Japan.
Bloom appears on NMC’s Grammy nominated recording of Gerald Barry The Importance of Being Earnest, conducted by Thomas Adès; the New York Philharmonic’s live recording of Janáček The Cunning Little Vixen, conducted by Alan Gilbert; The Metropolitan Opera’s HD Broadcast of Mozart Don Giovanni, conducted by Fabio Luisi; the Berlin Philharmonic’s Digital Concert Hall broadcast of Ligeti Le Grand Macabre, and the LSO Live recording of Debussy Pelléas et Mélisande both conducted by Sir Simon Rattle.
Bloom was born in Australia to musician parents and studied cello and double-bass as well as being a chorister at St Paul’s Cathedral, Melbourne. He went on to study History at the University of Melbourne and graduated with a Bachelor of Arts.
His professional debut in opera was in an OzOpera touring production of The Barber of Seville, after which he joined the Young Artist Programme of Opera Australia in Sydney, and later the Merola and Adler Fellowship Programmes at the San Francisco Opera.
Bluebeard A kékszakállú herceg vára
Time The Triumph of Beauty and Deceit
Algernon The Importance of Being Earnest
Humpty Dumpty / Red Knight et al Alice’s Adventures Underground
Rodolfo La Sonnambula
Méphistophélès La Damnation de Faust
Bottom A Midsummer Night’s Dream
Collatinus The Rape of Lucretia
Swallow Peter Grimes
Claggart Billy Budd
Ghost of Old Hamlet /Gravedigger Hamlet
Arkel Pelléas et Mélisande
Harašta Cunning Little Vixen
Leporello Don Giovanni
Don Alfonso Così fan Tutte
Figaro Le Nozze di Figaro
Faraone Mosè in Egitto
Le Gouverneur Le Comte Ory
Basilio Il Barbiere di Siviglia
Podestà La Gazza Ladra*
Boris Timofeyevich Izmailov Lady Macbeth of Mtsensk
Kecal The Bartered Bride
Nick Shadow / Father Truelove The Rake’s Progress
Gremin Eugene Onegin
Baron Ochs Der Rosenkavalier*
Priam King Priam
Fiesco Simon Boccanegra*
Filippo Don Carlo*
Padre Guardiano La Forza del Destino*
Hunding Die Walküre
König Marke Tristan und Isolde*
Kaspar Der Freischütz
"Bloom was a magnificent Méphistophélès, providing a rich characterisation which was generally gleefully diabolical rather than malignantly evil. He wandered on stage with hands in pockets, dressed all in black opposite Pirgu’s tails, and from the outset filled the hall with a huge sound and a sardonic delight."
"Bloom would have graced any production in the world. He was the vocal star of the evening, delivering his arias with a dark, virile bass sound, immaculate diction and pugilistic rhythmic attack."
"As Faraone, Joshua Bloom has a dark and powerful bass that radiates enormous authority. He shines in his extraordinary aria in the first act."