Title role in Donizetti's Polituo

"In the title role, tenor Christopher Bengochea was thrilling throughout, especially in the Act 2 aria "Sfolgoro divino raggio," where he begged forgiveness (and also managed to nail the money notes in the process). With his ringing sound and elegant phrasing, Bengochea was the very model of a martyred hero."

Gustavus III in Verdi's Un ballo in maschera

"....Act II love duet between Berioli (as Amelia, the heroine) and young tenor Christopher Bengochea (as King Gustavus III, a doomed man) was over-the-top beautiful, emotive and nuanced in ways that audiences are unaccustomed to hearing in San Jose.
Bengochea, a new addition to the company, grew stronger -- and more relaxed with himself -- as the matinee performance moved along. His mellow voice took on a glow, embodying the benevolence of the king even as he is surrounded by conspirators who want him dead. And to hear Bengochea expand into big, lusty high notes -- Verdi specials -- was thrilling.
Bengochea, who was impressive in ``The Crucible'' in September, could be the tenor the company has been waiting for. "

Rodolfo in Puccini's La bohème

"Bengochea is new to the company this season and an important addition. He sings lustily, gamely expanding into high notes -- a throbbing high C in ``Che gelida manina,'' his Act I love song to Mimi -- and seems to take real pleasure in the very act of singing. He's got soul.......Bengochea's shout is one of real grief. "

"It was in Boise..that I first heard the young tenor Christopher Bengochea. A second encounter, on Sunday, in Livermore, confirmed what I first heard in Idaho: musical sensitivity, clarity of expression, and true power, all in one, a Fach-less tenor, who doesn't need to develop a lyric sound into a Heldentenor — he has it all, now.
Bengochea's power, sure intonation, and fine diction come in a package tied with a ribbon of "natural sound." What makes him special is different from Gösta Winbergh's or József Réti's effortlessness or Juan Diego Flórez's elegance; it is a unique, broadly-projected "wide" sound that can serve lyrical or heroic music equally well."

Edgardo in Donizetti's Lucia di Lammermoor

"Mr. Bengochea gave his Edgardo convincing passion, fury and a solid physical presence. His rich, powerful voice could melt into such sweetness that the audience might forget for a time that his character was as bellicose as that of Enrico, Lucia's brother."

Ernani in Verdi's Ernani

"Tenor Christopher Bengochea in the title role was flawless...He has a command of Italianate style along with ringing top notes and a smooth legato—a fine, even dramatic, tenor in the making."

Turiddu in Mascagni’s Cavalleria Rusticana

"...Lisa Van der Ploeg delivers a glorious performance in the starring role as Santuzza and Christopher Bengochea, a bright 25-year-old tenor...shows maturity beyond his years as her faithless lover Turiddu."

Eric in Alva Henderson’s Nosferatu

"Tenors of the future: McPherson, Bengochea"

"Boise's little opera company has something rare and special: not one but two terrific young tenors. McPherson in the evening and Christopher Bengochea at the matinee both sang rings around everyone else: strong, youthful lyric voices, excellent diction..."

In a Zarzuela program at the Jarvis Conservatory

"Another youthful singer of note was Christopher Bengochea, a tenor from Montana, whose soaring solo of ‘Te Quiero Morena’ from Jose Serrano’s El Trust de lost Tenorios, earned much applause."

"Alternating voice and dance, it was dizzying in it’s beauty, and marvelous in its variety...three women performed an elegantly seductive dance with fans, to the smoldering passion of ‘Bullerias’...and the witty 'Te Quiero Morena' in which tenor Christopher Bengochea sang how he was dying of love for the girl from Aragon, ‘I loved you as much as you loved money’."

Arturo in Donizetti’s Lucia di Lammermoor

"Christopher is a young man about whom we will hear more"