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Mozart Don Giovanni, title role
Northern Ireland Opera

Nicholas Chalmers, conductor | Oliver Mears, stage director
"Henk Neven's blonde, coolly fashionable seducer is a deeply flawed character, exploitative, ruthless, misogynistic, predatory"
- Bachtrack, October 2015

"Henk Neven as the womanizing Count Almaviva: a restrained stiff prig with authoritarian characteristics and a very short fuse."
- The Stage, November 2016

"Henk Neven impressed as Don Giovanni with a warm baritone and was utterly convincing as a slimy womaniser. [...] Neven's dramatic variation came to the fore in his serenade, where Neven's beautiful phrasing – accompanied sensitively by the Ulster Orchestra – imbued his role with a surprising sense of sincerity."
- Backtrack, November 2016

"Mr Neven, a noted recitalist, delivered Mozart's harmonies with musical attention."
- The Irish News, November 2016

"Henk Neven is superb as the rakish, womanising Don Giovanni. [...] Neven incarnates the lustful, amoral yet charismatic Don Giovanni with equal measures of élan and nonchalant swagger."
- The Thin Air, November 2016
"Dutchman Flies in to Save The Night and Provides Promising Opening for Leeds Lieder 2017"
"Neven has a strong stage presence and his voice grew in confidence as the cycle progressed, increasingly inhabiting the role of the miller. It was a tremendously persuasive performance, sensitive, thoughtful, and at times deeply moving. His pure top end puts me in mind of Wolfgang Holzmair in its yearning quality, heard to best effect in 'Der Neugierige' ('Curiosity'), 'Morgengruss' ('Morning Greetings'), and the 'black pearl' of the cycle, 'Die liebe Farbe' ('The Favourite Colour'), where we already seem to hear the darkling sound-worlds of the late piano sonatas and Winterreise in the piano score."

"Neven only did one song as an encore, but what an intelligent selection it was: Am Flusse, D.766, a poem by Goethe in which the songs are said to have flowed into the 'sea of oblivion', a link made by the singer in connection with the previous songs he had just sung. It was a delicate way to end an engrossing recital."
- Seen and Heard International, April 2017
Le nozze di Figaro Mozart
Orchestra of the Eighteenth Century

Kenneth Montgomery, conductor | Jeroen Lopez Cardozo, stage director
"I thoroughly enjoyed Henk Neven’s performance as Almaviva. The natural elegance of his full and round baritone alluringly rendered the Count’s aristocratic poise.  His subtle use of colours and agile body language disclosed perfectly the character’s ill-concealed inner rage, without ever falling into caricature.  His stylishly sang  “Ha già vinta la causa !” felt full of frustration ready to explode."
- Bachtrack, October 2015

"Henk Neven as the womanizing Count Almaviva: a restrained stiff prig with authoritarian characteristics and a very short fuse"
- Telegraaf, Thiemo Wind, October 2015

"The Count, sung by Henk Neven. This past year he performed recitals in Rotterdam but now he had the opportunity to again show his operatic qualities in his hometown. His aria 'Hai gia vinta la causa” evolved nicely with ricocheting thoughts about deceit and hypocrisy but impaired rage, albeit within the limits of decorous emotions a count possesses."
- Operamagazine, Francois van den Anker, October 2015

"The surprisingly natural comic talent of Henk Neven as Count Almaviva especially stands out, in his ardent pose of stately decency with an undertone of lustful passion."
- NRC Handelsblad, Kasper Jansen, October 2015

"Henk Neven was with his imposing baritone a both stately and erotically charged Count Almaviva."
- Opusklassiek, Aart van der Wal, October 2015
Rêves d'Espagne!
CD with songs by Dørumsgaard, Ibert, Ravel, Shostakovich
Henk Neven, baritone; Hans Eijsackers, piano
"Neven and Eijsackers form a fascinating combination. They are both kindred spirits and at the same time, opposites. While Henk Neven's velvety voice caresses, Eijsackers rattles notes out of the piano - like the fierce pounding heels of a dancer that drills the rhythm into the floor ... the sounds of raw, brusque, primal Spanish passion. Neven executes rhythm with excellent refinement, and but he also uncovers another area: a dream world that is filled with the rich fantasies of Don Quixote, transforming a peasant girl into a princess and a village pub into a castle. Pure magic. "
- De Volkskrant, March 2016
read the review
"With this new album, Henk Neven crosses further into new territory. He is in top-form, shifting through a varied as well as demanding lieder programme as a vocal chameleon. Performing with his regular piano partner Hans Eijsackers, we enjoy their in-depth look into Spanish folklore, in these more than excellent, some even brilliant, in terms of colour and mood, significantly different compositions." "Henk Neven is a lieder singer who has mastered his métier to the smallest detail. With his velvet, extremely agile voice he can fully concentrate on the text in such a way that he uncovers fascinating landscapes."
- OpusKlassiek, April 2016
read the review (in Dutch)
"When Neven hums, the public dreams"
"Neven has a suitable voice for dreams: warm and comforting, not vain but subdued, and in the high notes a vulnerability that accentuates intimate melancholy. ... When Neven starts to hum in the 15th century song 'Pámpano verde' you're completely lost. "
- NRC Handelsblad, April 2016
read the review (in Dutch)
"Dreaming about Spain" - interview
an excerpt:
The third CD of the duo has just been released and has been given the title 'Rêves d'Espagne'. How come such a program actually established with an overarching theme?
"We've performed the songs about Don Quixote composed by Jacques Ibert and Ravel a lot. We really wanted to record them. Ibert and Ravel look with truly French eyes to their Spanish subject. That is how we came up with the theme. How do non-Spanish composers look at Spain? In which way do they dream about Spain? What a shame that the exotic fantasy of Spain has disappeared, but we all still want to continue dreaming. "
read the interview (in Dutch)
Don Giovanni Mozart
Bergen Philharmonic Orchestra

Rinaldo Alessandrini, conductor; Oliver Mears, stage director        
"The gangly Henk Neven portrayed Don Giovanni as a spoiled, rich young man whose self-confidence was based on the fact that he was accustomed to having whatever he wanted. Neven’s baritone, was beautiful, well-balanced, flexible, and nuanced."
- Opernwelt, May 2015

"Henk Neven's attractive tone... carried Don Giovanni's lines confidently and stylishly."
- Opera, July 2015

"Henk Neven in character as Don Giovanni had a consistently great and dramatic nerve. A magnificent voice that changed as often as he changed his strategy to conquer women.”
* * * * * * (6 out of 6 stars)
- Bergens Tidende

Wigmore Hall recital (October 2014)
with Hans Eijsackers, piano
“You’ll still get a shock when you first hear him, because he sounds so much like a young Dietrich Fischer-Dieskau – hardly a disadvantage, and it’s obvious that his supple, finely coloured voice is a natural asset rather than an imposed style. He is no ‘school of’ singer, however, since he has very clear ideas about the music and is very individual in his phrasing and use of rubato. For this recital of Wolf and Mahler he was accompanied by his fellow Dutch artist, Hans Eijsackers, in what is clearly shaping up to be a remarkable collaboration."

- Melanie Eskenazi, Music OHM, 07 October 2014

READ the full review

"...his diction was extremely clear, whether in the heady ode to a lover’s hair, ‘Und willst du deinen Liebsten sterben sehen’ or in the humorous ‘Hoffärtig seid Ihr, schönes Kind, und geht' ...

"By the final setting, ‘Sterb’ ich, so hüllt in Blumen’, there was an intense mood of contemplation, Neven’s voice finding the inner serenity of the song with fluid accompaniment from Eijsackers." ...

"Eijsackers began with the hollow rumble of the piano’s lower register, ‘Der Tamboursg’sell’, with its sinister references to death and impending doom. This was a black reading indeed, Neven’s voice noticeably more cutting in tone as the subject met the gallows, with a grim countenance that left nothing to the imagination."

- Ben Hogwood, Classical Source, 06 October 2014
READ the full review
Castor et Pollux Rameau
Opéra de Dijon
Orchestre et Choeur du Concert d'Astrée
Emmanuelle Haïm, conductor; Barrie Kosky, stage direction

"Le Pollux de Henk Neven nous ravit. La voix est pleine, ronde, bien timbrée, toujours intelligible."
- Yvan Beuvard, Forumopera.com

"Le baryton-basse néerlandais Henk Neven incarne toute la noblesse et l’élégance qui conviennent à Pollux…"
- Jean-Marc Piriou, bachtrack.com

"..le Pollux de Henk Neven a de la tenue et du sentiment, sinon le moelleux désirable."
- Jean-Philippe Grosperrin, diapaison

" L’engagement des chanteurs se situe à la hauteur de l’enjeu : leur attention au texte et à la déclamation mérite tous les éloges. En Pollux, Henk Neven familier du rôle, ardent, vibrant (superbe „present des dieux” - )"
- Michel Le Naour, concertclassic.com

"Pollux (Henk Neven) sait exprimer aussi bien la détermination que l’amour fraternel avec une égale vigueur, et il a dans cette version un rôle primordial"
- Joelle Farenc, resmusica.com

Wigmore Hall recital (April/May 2014)
with Hans Eijsackers, piano

“The rapid rise of Dutch baritone Henk Neven is easy to explain. He is blessed with instant charm and the voice, still attractively youthful in his late 30s, emerges full-toned from his slight frame with a faint, fast vibrato that lends it a distinctive tang.
The latter’s cabaret-like flavour, which Neven delivered with sensitivity and conviction, proved surprisingly moving…

…successful in this perfumed trio of Paul Morand settings were the pleasingly phrased strophes of the opening “Chanson romanesque” and the drunken swagger-stagger with which he imbued the “Chanson à boire”.

Thus Neven made "Ganymed" burst with life and found a perfect stillness in the two Wandrers Nachtlieder…”
- Mark Valencia, The Arts Desk, May 2014


Wigmore Hall recital with music by Henri Duparc
with Sarah Connolly and Malcolm Martineau


“They could have been singing only for each other. At times, listening felt intrusive. Yet, every word drew us in deeper, every note clamoured for attention. It was like eating in a fine restaurant – all aromas, taste and colours designed to complement one another…
Neven went for the more straightforward approach, laying out his emotions on a slab. “Soupir” brimmed with longing; “Le gallop”, a sense of fearlessness…
In “La vie antérieure”…his muscular voice softened and yielded to the exact needs of the poetry.”
- Hannah Nepil, Financial Times, April 2014

“Neven was more detailed and expressionistic, with each of his songs swerving towards a dramatic monologue.”
- Tim Ashley, Guardian, April 2014

“He’s an engaging presence on the podium, with a firm, resonant baritone.”
- Neil Fisher, Times, April 2014

Amsterdam recital
Muziekgebouw aan 't IJ
with Hans Eijsackers, piano

"Neven ventured not to typical Spanish inflections, but let his warm, delicious baritone flamenco singing flourish in the alternately sad and cheerful atmospheres."
Neven waagde zich niet aan typisch Spaanse stembuigingen, zoals we van flamencozangers kennen, maar liet zijn warme bariton heerlijk opbloeien in de afwisselend trieste en opgewekte sferen.

“…Neven always retained his characteristic timbre, with subtle, characteristic soft passages, even in the final phrases of ' neuriënde Pámpano verde'.”
In de voor Neven kenmerkende fijnzinnige zachte passages bleef zijn karakteristieke timbre steeds overeind, zelfs in de neuriënde slotfrasen van ‘Pámpano verde’.

“Neven gave the fathomless solitude impressive stature.”
Neven gaf de peilloze eenzaamheid indrukwekkend gestalte.

- Martin Toet, Place de l’Opera, May 2014


"Henk Neven tilts at windmills in Amsterdam"
- By Rosemary Carlton-Willis, 31 May 2014, BACHTRACK

At the Muziekgebouw, Amsterdam, Dutch baritone Henk Neven and pianist Hans Eijsackers charmed an enthusiastic audience with a programme of Ravel, Ibert, Schubert and Spanish songs arranged by Norwegian composer Arne Dørumsgaard. The first half of the concert was a beautifully chosen combination of French and Spanish music and texts. Jacques Ibert’s Quatre Chansons de Don Quichotte and Maurice Ravel’s Don Quichotte à Dulcinée, which set French texts based on the Spanish romance, were placed either side of Dørumsgaard’s poignant arrangements of traditional Spanish songs.

Ibert’s Quatre Chansons opened the programme, and we immediately knew we were in the hands of a superb pianist. Eijsackers’ subtlety and panache gripped the audience from the first sinuous chords of “Chanson du départ de Don Quichotte”. Neven, infusing his rich tone with dark colour, struck just the right note of grandeur and mystery. He sang the short “Chanson du Duc” with stirring fervour, his wealth of vocal colours brought into play apparently effortlessly. 

Neven could hardly be faulted for sensitivity to affect and text. His luscious legato easily sustained the grandeur and melancholy of Ibert’s “Chanson de la mort de Don Quichotte” and Schubert’s “Wer sich der Einsamkeit ergibt” from Gesänge des Harfners, while Ravel’s light “Chanson Romanesque” was delivered with poignant charm. I especially enjoyed the lively comical songs in the programme, in which Neven clearly showed an aptitude for delicate physical comedy, giving irrepressible panache to the hiccupping drunken knight in Ravel’s “Chanson à boire”. His slight swaying had the audience in ripples of laughter, while never crossing the line into vulgarity: the meat of the comedy was always provided by the flexibility of the voice.

Dørumsgaard’s song settings came as a lovely surprise: poignant and melodious, they provided a timely contrast to the more flamboyant and complex French mélodies. “Con amores, la mi madre” was especially tender and touching. “Pampano verde” was another lovely moment: Neven used the softer colours in his voice sensitively, creating just the right combination of romantic distance and warm desire. Eijsackers gave the gentle Dørumsgaard songs tender attention, allowing the melodies to sing sweetly, infused with feeling, but never mistily sentimental.

The second half was all Schubert: a weighty selection of songs, with an emphasis on melancholy and longing. Even the apparently “happier” songs were rather subdued, complex choices: “Geheimes”, and “Ganymed”. Neven’s direct, approachable delivery prevented this from becoming oppressive to the audience. Instead he managed to create a sense of intimacy, which welcomed the audience into the darker and more ambiguous world of Schubert’s storytelling. Eijsackers exchanged his flamboyance for a more introspective, muted delivery, making much of the internal subtleties of Schubert’s writing. The programme ended with the mighty “Erkönig”. Neven gave excellent characterisation to the three distinct voices - the Erlking, the father and the dying child - the Erlking was deliciously sinister, with a wheedling tone. Eijsackers handled the virtuosically difficult piano part with authority and flair. After an evening in the presence of such consistently intelligent musicianship, the audience left the concert refreshed and enriched.

Dido and Aeneas (role: Aeneas)
L’Opéra de Rouen

with Vincent Dumestre (conductor) and Cecile Roussat (stage director)

“…Henk Neven, for the elegance of his seductive Aeneas, as much vocally as physically...”
…Henk Neven pour l’élégance de son Énée séduisant tant vocalement que physiquement...
- Brigitte Cormier, Forum Opera, May 2014

"Henk Neven est un excellent Enée, en proie à ses tourments, partagé entre son amour pour Didon et l’ordre (faussement) donné par Jupiter: bénéficiant d’une belle voix, profonde et chaude, il distille avec justesse ce sentiment de fragilité qui le rend si touchant, notamment lors de l’altercation avec Didon."
- Concertonet.com, Sébastien Gauthier
The Sea
CD/RECITAL with songs by Fauré, Schubert & Debussy
Hans Eijsackers, piano
"Rarely do you hear a baritone who sings with such subtlety in shading of dynamic and tone as the Dutch baritone Henk Neven."
"Altogether a most memorable song record."
- Gramophone, February 2013
read the review
"Formidable singer at the top of his game."
"A fantastically sung recital and just as the cd highly recommended."
Four out of five stars
- Trouw, November 2012
read the review (in Dutch)
"An adventurous program and a cd to cherish."
- Telegraaf, January 2013
read the review (in Dutch)
"His strength lies in the intimate beauty of his voice"
"For the impressionistic breadth of the mélodie he has the ideal color."
- NRC Handelsblad, 2012
read the review (in Dutch)
"Another lieder recital from ONYX, with this fine young baritone at his considerable best, not least in Faure's masterly late 'L'Horizon chimerique', alongside nine Schubert songs and Debussy's 'Trois melodies de Verlaine'  and  'Beau soir'. This is in the Gerard Souzay - Dalton Baldwin class, and the recording is very finely balanced"
- Musical Opinion, November-December 2012
"Every so often a golden-voiced (or is it bronze?, I’m never sure) baritone comes along, one with intelligent musicianship, an ease with language (both his own and non-native), and good sense about repertoire choices. Henk Neven, a 30-something Dutch singer of recitals, oratorios, and opera, exemplifies all of those things, and he and his pianist partner, Hans Eijsackers, have put together a very fine program."
"Neven has a tone with a true center—no fudging around the registral edges—and he maintains a flowing, facile delivery that never calls attention to any such thing as technical effort. I especially enjoyed his renditions of “Erlafsee” and the Debussy songs (“Beau soir” and three Verlaine settings), but this is overall a real pleasure—and I’ll be looking forward to more journeys from Henk and Hans, wherever they may lead."
- David Vernier, ClassicsToday.com
"It is a beautifully intimate, sensitive recital. Gorgeous in its tranquility and simplicity."
"Henk Neven is one of the most beautiful baritones Holland has 'produced'. Buy this album, you will not regret it."
- operamagazine.nl, November 2012
read the review (in Dutch)
"Henk Neven and Hans Eijsackers breathtakingly good."
"Neven is the ideal interpreter of Schubert."
- Haarlems Dagblad, January 2013
read the review (in Dutch)
Ein deutsches Requiem Brahms
BBC Proms / Royal Albert Hall, London
Orchestra of the Age of Enlightenment / Marin Alsop, conductor
"...Neven wonderfully conveyed both the fears and hopes which define human mortality..."
- Opera Today, 19 August 2013
"...there were striking contributions, too, from the baritone soloist Henk Neven, intimately sung and marvellously clear with the text"
- The Guardian, 18 August 2013
"The young soloists were also responsible for some transformative moments. I thought the Dutch baritone Henk Neven brought out both the humility of "Herr, lehre doch mich" and the confident prophecy of "Siehe, ich sage euch ein Gehemnis"
- theartsdesk.com, 19 August 2013
"Baritone soloist Henk Neven displayed a lieder singer’s attention to detail to the text in his two solos"
- musicOMH, 17 August 2013
Wigmore Hall recital 17 September 2012
with Hans Eijsackers, piano
"Henk Neven and Hans Eijsackers began this BBC Radio 3 Lunchtime Concert at Wigmore Hall with a well-chosen selection of nine of Brahms’s Lieder. Initially these were darkly coloured and sombre in mood, with the burnished tones of Neven’s baritone exposed but also beautifully rendered. Eijsackers proved an ideal accompanist, painting the scope of a song either in expansive introductions or postludes."
"With Brahms and Liszt on the programme, the only way to end was with a drinking song ... an unexpected moment of recklessness in the composer’s output and performed by Neven with a roguish smile."
- Ben Hogwood, classicalsource.com
read the review
Pre-jubileumconcert Concertgebouw
with La Sfera Armoniosa, Geert Mak

Een langverwachte muziektempel, midden in de lege, drassige polder: zo begon in 1888 het Amsterdamse Concertgebouw. Het gebouw bestaat in 2013 dus 125 jaar en viert dat onder meer met een fraaie, gisteren gepresenteerde reeks van 24 concerten.
...Veel van de highlights daarin hadden ook ‘gewone’ seizoenshoogtepunten kunnen zijn.
Geert Mak trapte de festiviteiten gisteren af met een wel echt verrassend en vernieuwend prejubileum-programma. Een kleine Muziekgeschiedenis van Amsterdam had het kunnen heten; Mak gidste in vogelvlucht langs de muzikale pieken en dalen van de twee eeuwen voorafgaand aan de opening van het Concertgebouw.
Ook memorabel: de door Henk Neven prachtig gezongen aria uit 'Le déserteur' van Pierre-Alexandre Monsigny.
- Mischa Spel, NRC Handelsblad

"Vooral ‘Il m’eut été si doux de t’embrasser’ uit Monsigny’s Le déserteur was wonderschoon. Nevens volle, warme, mannelijke stem was één van de hoogtepunten."
- Jordi Kooiman, operamagazine.nl
read the review (in Dutch)
De ware Liefde…
Arias from Mozart operas
Nederlands Kamerorkest; Gordan Nikolic, concertmaster

"In the Amsterdam Concertgebouw the young Dutch baritone Henk Neven was like a fish in water. Each piece was performed empathetically and with a great feeling for style."
"Henk Neven sung with energetic enthousiasm, and guided the listener with his supple voice. "
- Noord Hollands Dagblad, 17 April 2012
read the review (in Dutch)

"Neven shines in the Concertgebouw"
"Everything is true about what is said about this baritone: he has a dark-caramel voice with much nuance and color"
- Place de l'Opera, 20 April 2012
read the review (in Dutch)
Wigmore Hall recital 4 April 2012
with Hans Eijsackers, piano

**** 4 out of 5 stars

The Dutch baritone Henk Neven was part of the 2009 crop of BBC New Generation Artists, and his first disc, of songs by Schumann and Löwe, was widely admired. Though he has built up his reputation so far mainly as an interpreter of German song, his Wigmore recital with his regular partner Hans Eijsackers showed not only that Neven can tackle French songs equally persuasively, but that even within those repertoires he has a fondness for exploring works that other singers tend to overlook.

The second half of the recital was given over to French songs – to the least often heard of Debussy's Verlaine settings, the Trois Mélodies de Paul Verlaine, from the early 1890s, and to the first and last of Fauré's song-cycles, Poème du Jour and L'Horizon Chimérique. Neven showed that he can soften the crisp outlines of his voice that give such definition to his phrasing to produce a wonderfully honeyed legato that wrapped itself around Fauré's deceptively straightforward vocal lines, as well as suggesting in the boisterousness of Debussy's L'échelonnement des Haies, that he might have something special to bring to Poulenc's songs, too.

Neven and Eijsackers had begun with a half of Schubert – eight settings of poems by the composer's close friend Mayerhofer punctuated by single songs to texts by Goethe and Schiller. The connecting theme was water, making a neat link with L'Horizon Chimerique that was to come; by including the stark static Goethe song Meeres Stille, which Neven delivered with just the right degree of neutrality to allow its beauty to speak for itself, he conjured a moment of tranquility to precisely match the one Fauré creates in Diane, Sélené, the third song of that cycle.

An absorbing, wonderfully intelligent recital.

- Andrew Clements, The Guardian, April 2012

Songs and Dances of Death Mussorgsky (orch. Shostakovich)
Hodinott Hall / BBC NOW / Robert Minczuk, conductor
“The portrayals up-and-coming Dutch baritone Henk Neven brought to the songs were startlingly realistic. For a singer with a warm, lyric gift, this was role-play par excellence.”
- Nigel Jarrett, The South Wales Argus, June 2011
Requiem Mozart
Royal Albert Hall / Polyphony with the City of London Sinfonia
Stephen Layton, conductor
“…an eloquent quartet of soloists… Bostridge again, plus soprano Emma Bell, mezzo Renata Pokupi and baritone Henk Neven… ensured that Mozart's Requiem made its proper mark in the second half.”
- George Hall, The Guardian, August 2011
Auf einer Burg
debut cd with songs by Loewe & Schumann
"Here's a name to watch. The young Dutch baritone was made a BBC Radio 3 New Generation Artist two years ago and richly deserves his chance to shine on his first solo album. Neven's highly individual timbre is unlike any other lieder interpreter's: he sings with astonishing technical finesse, verbal acuity and a sense of wonder in these pieces from Schumann's annus miserabilis of song, 1840 (the year of his long-delayed marriage to Clara). This is an entirely fresh account of a familiar cycle, Eichendorff Liederkreis, op. 39, preceded by a group of Loewe ballads, steeped like Schumann's songs, in romantic nostalgia for medieval Germanic folklore. Eijsacker's virtuoso piano-playing only enhances this remarkable young singers's outstanding debut."
- The Sunday Times, 17 April 2011
"Henk Neven has an exceptional voice - perfectly controlled, ideal for German Lieder. It is hardly an exaggeration to think of him on the evidence of this fine disc as a successor to Dietrich Fischer-Dieskau. [...] It is a consistent joy to hear a Lieder singer whose tone is pure over the widest range without traces of roughness. [...]
It is a long time since I enjoyed a disc of Lieder from a young singer quite as much as this."
read the entire review
- Gramophone Magazine, 30 June 2011
"een bijzonder geslaagde debuut-cd" an exceptionally successful debut cd
"liedkunst op het allerhoogste niveau" the art of song at the highest level
lees de hele recensie
- Trouw, April 2011
"Dit is een cd om niet snel genoeg van te krijgen."
This is a cd you cannot get enough of
lees de hele recensie
- Telegraaf, April 2011
Nederlands Muziekprijs
"Aangename bariton met kruidige laagte"
Agreeable baritone with a peppery low register

lees de hele recensie
- NRC Handelsblad, Floris Don, April 2011
"Ik verlang naar de grotere rollen"
- artikel NRC Handelsblad, Mischa Spel, April 2011
Jonge Nederlanders
(vocal series for young Dutch talent which is also the Fortis MeesPierson Award competition; Henk Neven was in 2008 the winner of this award)

Bariton Henk Neven heeft een prachtig stemgeluid. Dat is ook internationaal niet onopgemerkt gebleven en Nevens carrière ontpopt zich ijlings. Jammer was dat de zanger afgelopen week door griep geveld was en daarom besloot liederen van Ravel te schrappen. Maar er bleef nog volop te genieten van deze sympathieke zanger, die in vijf liederen van Schubert een grote souplesse in stemvoering toonde en daarmee ongecompliceerd kon interpreteren… Henk Neven ontweek met de ‘Liederen en Dansen van de Dood’ van Moussorgsky in ieder geval alle platgetreden paden van een zangrecital. Het werd een diepzinnig staaltjezangkunst, met een aanpak in dramatiek die de dood haast tot een verleidelijk schouwspel maakte.
- Noordhollands Dagblad
St. François d’Assise (role: Frère Léon)
De Nederlandse Opera
...de bange Léon, de intens zingende Henk Neven
- NRC Handelsblad, 2 juni 2008
..Henk Neven bewees zich andermaal als Frère Léon
- Trouw, 3 juni 2008
Henk Neven est un touchant Frère Léon, compagnon préféré de François...
- Luxemburger Wort
Wie aanstaande zaterdag naar de rechtstreekse radiouitzending luistert kan onder meer twee uitstekende Nederlandse zangers, Henk Neven en Hubert Delamboye bewonderen.
- Den Haag Centraal, 6 juni 2008
Het zijn allereerst de grandioze prestaties van de zangers….en de fijnzinnige Henk Neven.
- Het Financiele Dagblad, 13 juni 2008
Neben dem starken Ensemble der Mönche, aus dem Henk Neven und Tom Randle hervortraten.
- Frankfurter Allgemeine Zeitung, 5 juni 2008
....dem samtigen Frère Léon von Henk Neven..
- Lëtzebuerger Land, 6 juni 2008
Henk Neven ist ein subtil phrasierender Bruder Leon.
- www.opernnetz.de, 6 juni 2008
Both baritone Henk Neven (Frère Léon) as tenor Tom Randle (Frère Massée) turned into performances that could not be bettered.
- Opera Today, 9 juni 2008
On aime Particulierement:..le frère Léon si humain de Henk Neven.
- Resmusica.com
St. François d’Assise in The Proms in Royal Albert Hall, London:
Henk Neven was Brother Leo, an important role in that it plays an indispensible part in Scene One and also provides the intensely sad reaction to Francis’ death in Scene Eight, was impressively delivered in the most lovely fashion.
- MusicWeb International's Worldwide Concert and Opera Reviews, September 2008
Der Vampyr (role: Lord Ruthven)
Grachtenfestival 2008, Muziekgebouw aan 't IJ
Bariton Neven torent als vampier boven iedereen uit
De enige die zowel wat muzikaliteit als acteur (er wordt nogal wat gesproken in deze opera) met kop en schouders boven de rest uittorende, was protaginist Henk Neven. De bloedzuigende bariton oogde als een über-Jules-Deelder en wervelde (zowel vocaal als fysiek) elegant door Marschners opera.
- Trouw, 18 augustus 2008
Wie een vampier uit één stuk wenste had aan Henk Neven een goeie. Het Nieuwe Baritontalent uit Nederland overtuigde vooral in het vileine, wanneer hij’bloed als rozensap’ van purperen lippen mocht nippen.
- Volkskrant, 18 augustus 2008
Henk Neven is de vampier. Prachtig differentiërend in gemoedstoestanden met een vol kleurenpalet van zijn stem speelt hij de rol uitstekend.
- Theatercentraal.nl
Castor et Pollux (role: Pollux)
De Nederlandse Opera
DVD review:
Síl faut voir ce DVD, c’est uniquement pour le Pollux d’Henk Neven....le personnage rayonne et captive, mêlant l’autorité guerrière et la tendresse, l’abnégation et le courage, avec cet art d’entrelacer sans les affaiblir des caractères opposés ….
- Diapaison

De Nederlandse bariton Henk Neven, een prachtige zanger met een rijk palet en een aangenaam volle stem, is wat mij betreft de held van de avond.
- Het Financiele Dagblad, 25 jan 2008

Van de tweelingbroers viel bariton Henk Neven op door zijn koninklijk-krachtige timbre: een halfgod waardig.
- Trouw, 21 jan 2008

De broederliefde, prachtig verbeeld door een stevig zingende Henk Neven (Pollux) en de lichte tenor Finnur Bjarnason (Castor) zegevierd uiteindelijk.
- NRC Handelsblad, 19 jan 2008

Je ziet met lila strijklicht overgoten Elyzeese velden, waar een gesneuvelde Castor (Finnur Bjarnason, nobele tenor)wordt afgelost door een nog levende, niet minder nobele Pollux (de Nederlandse bariton Henk Neven, een revelatie)
- De Volkskrant, 21 jan 2008

In deze ‘Castor en Pollux’ is een hoofdrol weggelegd voor de Nederlandse bariton Henk Neven als Pollux. Van het melancholisch gezongen, berustende verdriet van de treurzang “Présent des Dieux” uit de derde akte tot de grootsprakerige “je vole à la victoire” van een echte held aan het begin van de vierde akte beheerst hij het hele scala van uitdrukkingen voortreffelijk.
- Ikhoudvantheater.nl, 22 jan 2008

Een aantal rollen is sterk ingevuld, de Nederlandse bariton Henk Neven als Pollux weet de juiste Koninklijke klank aan zijn partij te geven.
- De Pers, 25 jan 2008

Im Vokalen finden diese Ansätze da und dort Glückliche Entsprechung.
Als Pollux setzt Henk Neven einen schlanken, geschmeidigen Bariton ein…
- Neue Zürcher Zeitung, 21 jan 2008

Von den prominenten Solisten machten Anna-Marie Panzarella und Veronique Gens erwartingsgemäss Eindruck, ebenso der Tenor Finnur Bjarnason und (besonders) der junge niederländische Bariton als volltönender Pollux.
- Klassik.com, 2008

Chez les hommes, c’est le baryton Henk Neven (Pollux) qui produit la plus grande satisfaction : autorité, phrasé, projection, bon français, et même quelques accents de Hampson dans la voix.
- François Jestin Scene magazine

Don Giovanni (role: Leporello)
Complice et faire-valoir de son maître, Henk Neven est un Leporello de très grande classe, qui abandonne la gouaille du valet pour une complicité récriminatoire envers son modèle et repoussoir. Un air du catalogue où sont dosées à part égale flagornerie et jalousie larvée, une scène de séduction irrésistible de pleutrerie, un second acte irréprochable culminant dans un Dite di no qui claque comme un tournebroche qui tombe à terre, parachèvent un comparse lucide et fasciné.
- Michel Leiris, Odb-Opéra

With them, and with us was the young man who saw it all Leporello, always at the side of the Don and absolutely as bewildered by love and life as was his master, and perhaps as was the Montpellier matinee audience recollecting its lost
..... The lithe Leporello of the Dutch baritone Henk Neven evoked the possibility of a definitive Leporello performance.
- Michael Milenski, MusicWeb International's Worldwide Concert and Opera Reviews

Mais au palmarès des couples, c’est sans doute le Don Giovanni de Franco Pomponi et le Leporello de Henk Neven qui emportent la palme.
- Midi libre

Vénus et Adonis (role: Mars)
Set against these weaknessnes, though, are the excellence of Karine Deshayes (Venus), Henk Neven (Mars), Ingrid Perruche (Bellone), and the considerable charm of Desmarets music itself..
- Nicholas Anderson BBCmusic magazine

De hoodrolspelers- Karine Deshayes, Sébastien Droy, Anna-Maria Panzarella en Henk Neven- zijn allemaal van grote klasse. Ieder volgt met groot inlevingsvermogen de ontwikkeling van zijn personage, zonder een moment te overdrijven.
- Monique Bannink Luister

Le dieu (Henk Neven) retrouve son autorité impérieuse, une diction aisée et des graves mieux posés ; le personnage se met alors enfin à exister : les deux derniers actes sont magnifiques de rage mal contenue et de déferlements belliqueux. La gradation du personnage est précise et très musicale, le timbre superbe.
- Opera database mai 2006

General Reviews
Henk Neven bezorgde kippenvel met twee 'Liederen en Dansen van de Dood' van Moesorgsky, het 'Wiegenlied' en de 'Serenade'. We hoorden de wanhoop van de moeder die haar kindje zal verliezen, de invalide die door de serenade op het verkeerde been gezet is en steeds de kalmte en vastberadenheid van de Dood. Neven vervolgde met liederen van Borodin, Glinka en Tsjaikovsky met de warme begeleiding van cellist Jan Bastiaan Neven – broer van – en Daria van den Bercken.
Concert in het Stift, Weerselo
- De Twentsche Courant, Tubantia, augustus 2008

Me gustó y mucho el Morales de Henk Neven, una voz segura y personal de clarísima dicción y muy buen actor
- Eduardo Benarroch For Operayre, Marzo 2005

Of the soloists the bass, Henk Neven, has the heaviest burden and he also seems to be the most accomplished singer. He has a splendid bass-baritone, expressive, steady and his declamation is lively and involved. He becomes ever better the further the oratorio proceeds and the agitated recitative and bass aria in Part II (CD1 trs. 18, 19) show him at his very best. He is one to watch in the future. (CD das Sühnopfer des neuen bundes, Naxos)
- Musicweb, June 2006

It could never hope to have a more persuasive recording, the team of soloists are in every way superb, the fabulous Christianne Stotijn and Henk Neven being outstanding.
(CD das Sühnopfer des neuen bundes, Naxos)
- Classical music reviews, June 2006

De jonge bariton Henk Neven kan trots zijn op zijn eerste Don Giovanni. Lenigheid van lijf en leden en lenigheid van stembanden koppelden zich in een interpretatie waarmee Neven het in ‘Don Giovanni’-land nog ver kan schoppen. De beroemde serenade van de Don klonk zalvend mooi en fraai versierd en zijn ‘versiering’ van Zerlina was er een uit duizenden. Maar hier hielp waarschijnlijk het feit mee dat Zerlina (Marjolein Niels) buiten Het Concertgebouw de levensgezellin van Neven is.
- Trouw 17-07-2006

"Sterk als steeds bleek ook de bezetting van de kleinere rollen, waarbij met name de jonge Nederlandse bariton Henk Neven met zijn warm, betrouwbaar geluid bewees tot veel meer dan bijrollen in staat te zijn."
- NRC Handelsblad 24-01-2005

"Bariton Henk Neven lukte dat perfect en hij solliciteerde daarmee serieus naar een prominentere plek in een volgende Matinee."
- Trouw 25-01-2005

“Onder de vocale solisten vermelden wij vooreerst de jonge Henk Neven als Abramo, een bas met een duidelijke dictie, warme volumineuze stem die echter ook zeer stil kan zingen...”
- Utrechts Dagblad
Il Sacrifizio d’Ambramo, Utrechts Barok Consort o.l.v. Jos van Veldhoven

….Henk Neven (Jezus) zing-zeggenden het kale bijbelwoord op een schamele zes, zeven tonen. Barok op z’n soberst, maar als het goed gebeurt, mondt zoiets uit in een gedempte orgie van ritme en dictie, een zegetocht van klemtoon en interval. En het gebeurde goed. In die omgeving van geconcentreerde eenvoud vielen de koordelen als manna uit de hemel.
- de Volkskrant
Lukas Passion (Schutz), de NBV, 28-9-2002

“.. en de veelbelovende Henk Neven lieten geen wens onvervuld.”
NRC Handelsblad
- Vanessa Barber; in Concertgebouw Amsterdam, Radio Filharmonisch Orkest
o.l.v. Jaap van Zweden

“Een opvallende bijrol was er voor de jonge, soepele Nederlandse bariton Henk Neven”
- Trouw
Vanessa Barber; in Concertgebouw Amsterdam, Radio Filharmonisch Orkest
o.l.v. Jaap van Zweden

“De ervaren tenor Gerd Türk toonde zich als evangelist een rasverteller. Hij vormde een sterk koppel met de jonge Henk Neven, wiens kernachtige bas Jezus een ernstige somberheid gaf”.

”Henk Neven is een jonge Christus, soms scherp en streng, soms begripvol in zijn souvereine lijden”
- de Volkskrant
Matthäus Passion in Naarden with the Nederlandse Bachvereniging o.l.v. Jos van Veldhoven

“Ook de jonge en indrekwekkend lenig rondbuitelende bariton henk Neven bleek met zijn warme, krachtige timbre theatraal en vocaal perfect gecast als strenge vader, en in de jagdcantate, wellustige en hoondragende Pan in pluchen broek.”
Jagd- en Kaffee Kantate with the Combattimento Consort Amsterdam o.l.v. Jan Willem de Vriend