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Benjamin Werley— praised as having a “gleaming, flexible tenor” (Opera News)—was first bitten by the opera bug while attending a performance of Puccini’s Tosca. He has been pursuing an operatic career ever since.


A graduate of the Jacob’s School of Music at Indiana University, Werley was one of twenty singers nationwide selected to sing in the semi-finals of the 2012-2013 Metropolitan Opera National Council Auditions in New York City. He has since participated in many prestigious young artist programs, including the Merola Opera Program, Santa Fe Opera, Florida Grand Opera, Virginia Opera, Opera Colorado, Opera Theatre of St. Louis, and Martina Arroyo’s Prelude to Performance. During that time, he sang Don Ottavio in Mozart's Don Giovanni (Merola), Farmer in the world premiere of The Scarlet Letter by Lori Laitman (Opera Colorado), Courier in Puccini's La Fanciulla del West and Deiner 3 in Strauss's Capriccio (Santa Fe Opera), Don José in Carmen (Martina Arroyo’s Prelude to Performance), Arturo in Donizetti’s Lucia di Lammermoor, and Narraboth in Strauss’s Salome (Florida Grand Opera). He has also been a soloist with the Dayton Philharmonic, Indianapolis Symphony Orchestra, The Western Piedmont Symphony, and the Queens Symphony Orchestra.


In 2018, Werley returned to Virginia Opera in their first ever production of Kurt Weil’s Street Scene, singing Lippo Fiorentino. He then made his Cleveland Opera Theater and role debut as Alfredo in La traviata, and made his Central City Opera debut as Red Whiskers in their production of Britten’s Billy Budd, also covering Captain Vere. 2019 marked his role and company debut as Canio for Salt Marsh Opera's Pagliacci, a return to Dayton Opera for a New Year's Eve Gala, and role and company debuts with St. Pete Opera as il Duca (Rigoletto).


Upcoming engagements include Nemorino in L’elisir d’amore with Dayton Opera, and a return to Don Ottavio in Don Giovanni with Indianapolis Opera.




"Werley’s lines are lyric, but his huge voice with a helden edge suggests that memorable combination of Jon Vicker’s and even Johan Botha’s. Like the singer who is the moving force behind the Prelude to Performance, Werley can be called ‘spinto’ in his highly dramatic presentation. He is handsome and a very good actor, developing the rage and fury of Jose, who can sometimes seem wimpish. This Don is unusually emboldened by jealousy. One has the sense that Werley will develop into a major tenor in the roles for which Vickers and Botha excelled. His barrel chest reminds you of the source of the greats’ instruments.”

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