Claire Booth

Claire Booth


Representation: General Management

British soprano Claire Booth has become internationally renowned both for her commitment to an extraordinary breadth of repertoire, and for the vitality and musicianship that she brings to the operatic stage and concert platform. In the 2015-16 season alone her diverse schedule has included Poulenc’s La Voix Humaine for WNO in conjunction with Cardiff’s Festival of The Voice, La Comtesse in Rossini’s Le Comte Ory with the Chelsea Opera Group, Haas’ Atthis in her latest collaboration with Netia Jones at the Royal Opera House, Luigi Rossi’s Oratorio per la Settimana Santa with Christian Curnyn, works by Wigglesworth and Knussen with the BBC Symphony Orchestra, Rosina in Welsh National Opera’s new production of Il Barbiere di Siviglia and Ravel chamber works with the Nash Ensemble at London’s Wigmore Hall.

Other operatic highlights include Elcia in Rossini’s Mose in Egitto and Pakati in Jonathan Harvey’s Wagner Dream (Welsh National Opera), the title role in Janacek’s Cunning Little Vixen (Garsington Opera), which met with widespread critical acclaim, Rosina in Il Barbiere di Siviglia and Dorinda in Handel’s Orlando (Scottish Opera) and Nora in Vaughan Williams’ Riders to the Sea (English National Opera).

Her numerous concert appearances have resulted in close associations with the BBCSO and Proms, the City of Birmingham Symphony Orchestra, Mahler Chamber Orchestra and Ensemble InterContemporain, the Aldeburgh and Holland Festivals and other recent debut appearances with the Berlin Deutsche Symphonie, Boston Symphony Orchestra and London Philharmonic Orchestra. For more than a decade she has collaborated with video director Netia Jones to produce a series of critically acclaimed productions. These include her performances of Kurtag’s Kafka Fragments (ROH), Max in Knussen’s Where the Wild Things Are and Rhoda in Higglety, Pigglety, Pop, which toured from the Aldeburgh Festival, via The Los Angeles Philharmonic and a further debut under Gustavo Dudamel, to the Barbican’s own 60th birthday celebrations for the composer.

Claire’s most recent CD release features diverse works by Ryan Wigglesworth and the Hallé Orchestra, including his Augenlieder of which she sang the world premiere. Others recordings include Lucia in Britten’s Rape of Lucretia (EMI), Jonathan Harvey’s Wagner Dream, John Eccles’ The Judgement of Paris and works by Oliver Knussen, Jonathan Dove and Charlotte Bray.

Upcoming highlights include concerts in Tokyo and Stockholm, a return to the Wigmore Hall with the Nash Ensemble to perform works by Berg and Schonberg, concert performances with the Early Opera Company at Spitalfields Festival and Wigmore Hall and a further return to the Aldeburgh Festival with the BCMG and Oliver Knussen.  Her debut solo disc of Grainger folk music, with pianist Christopher Glynn is set for release in Spring 2017 through the Avie Label.

Artist website:

Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to ensure that you receive the most up to date version.
Email: Caroline Slade



Claire Booth and Christopher Glynn

April 11th, 2017

New recording of the folk music of Percy Grainger

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Wales Theatre Awards Shortlist

February 16th, 2017

Two Hazard Chase sopranos shortlisted for the 2017 awards

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‘Serse’ at St John’s Smith Square

November 18th, 2016

Critically acclaimed production features several Hazard Chase singers

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Hazard Chase welcomes soprano Claire Booth

July 12th, 2016

Recent highlights include a series of Rossini roles and Poulenc’s ‘La Voix Humaine’

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Percy Grainger FOLK MUSIC (Avie)

“This joyous collection from soprano Claire Booth and pianist Christopher Glynn explores Grainger’s stunning folk song output with great verve and passion, revealing English folk music as an incredibly alluring, multifaceted genre. One of the most comprehensive surveys available on the market today, it’s a perfect album for seasoned Grainger enthusiasts and curious newcomers alike.”
Eva Mackevic, Reader’s Digest (Apr 2017)

Rossini LE COMTE ORY – Chelsea Opera Group

“[Claire Booth] despatched Rossini’s fiendishly difficult vocal parts with panache and elegance…  Her coloratura was agile and precise.”
Claire Seymour, Opera Magazine (Sept 2016)

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Poulenc LA VOIX HUMAINE Elle – Welsh National Opera at Beachcliffe Apartments, June 2016

“Claire Booth sang L with overwhelming emotional conviction… Booth was volatile, raw and brave… The power of Booth’s performance made L’s plight feel uncomfortably real; the rules of theatre left us powerless to help.”
Rebecca Franks, The Times

“La Voix Humaine is one of the hardest tests for a soprano and in this new production Claire Booth makes it wholly unforgettable… With Booth’s expressiveness so intense, the colours of the voice so beautiful, this doesn’t feel virtual but all too real.”
Rian Evans, The Guardian

“Soprano extraordinaire Claire Booth… enacts with wringing plausibility a transition from gracious hostess to desperate would-be suicide.”
Steph Power, The Independent

“Claire Booth’s virtuoso portrayal of the betrayed woman at the heart of Poulenc’s one act opera will linger long in the consciousness”
Rian Evans, Opera Magazine (August 2016)

Rossini THE BARBER OF SEVILLE Rosina – Welsh National Opera, February 2016

“But the star turn is Claire Booth, very much a soprano Rosina, supremely happy and precise in Rossini’s high-lying alternatim coloratura[…] always personable, easy on the eye, and above all clever at suggesting a certain vulnerability behind her quick-witted, minxish exterior.”
The Arts Desk

“With a mostly male cast, Claire Booth in the female role of Rosina carries much on her back in a part that can make or break any performance of this opera.  Booth has a soaring soprano that copes seemingly effortlessly with Rosina’s difficult arias but she aces in what must have been a most difficult task.  I refer to the fact that she sang the part in WNO’s 2011 production of the opera, which was a different ball game altogether.  The multi-talented Booth is possibly one of the few operatic stars in today’s firmament who can pull it off.”
The Reviews Hub

“Sparky coloratura”
The Guardian

“Nico Darmanin fairly skipped around the stage trilling with coloratura cheekiness… matched by Claire Booth’s sparkling soprano Rosina.”
Wales Online

“[Booth] navigates Rossini’s fioritura with shivery precision and citrus-sharp applications of messa di voce”
The Spectator

Concert with Aurora Orchestra / Nicholas Collon at Wigmore Hall, London, July  2015

“Claire Booth…display[ed] her intense yet beguiling soprano, which is always so very comfortable with the ‘new’.”
Kenneth Carter, Classical Source

“Booth’s easily expressive voice”
Andrew Clements, The Guardian

Concert with Nash Ensemble at Wigmore Hall, March 2015

“Claire Booth’s radiant soprano and impeccable avant-garde musicianship was displayed to good effect.”
Richard Morrison, The Times

Georg Friedrich Haas ATTHIS – Royal Opera House, Linbury Studio, April 2015

“Booth is an intensely watchable performer, responsible for translating so many contemporary works into emotional language an audience can understand. Here she tackled Haas’s extreme vocal writing with complete conviction.”
Alexandra Coghlan, The Arts Desk

Janacek CUNNING LITTLE VIXEN – Garsington Opera, June 2014

“Booth’s Vixen is so vibrantly sung, and her own love affair with her Fox so charmingly staged (a first date where you forget your table manners — we’ve all done it) that one of opera’s most multifaceted heroines is still allowed to bewitch us.”
Neil Fisher, The Times

“Claire Booth is a marvellously vital Vixen, singing and playing with an energy that makes her the life-force of the opera.”
Richard Fairman, The Financial Times

“Claire Booth heads up a fabulous cast with a knockout performance in the title role. Her voice is well suited to choppy writing, but her command of the role’s irrepressible passion exceeds even high expectations, and the scene in which she reflects on having found a true mate is almost unbearably moving.”

Guy Dammann, The Guardian

“Claire Booth is a riveting revelation in the title role, her spirited Czech inflections ringing out at every turn. We can’t take our eyes off her captivating personage from the minute she sits down wistfully in the first scene. As she explodes into life, her tongue-in-cheek feminism goes vivaciously hand in glove with killer instincts.”
David Nice, The Arts Desk

“Claire Booth’s Vixen is beyond compare, both in the way she moves and acts, and in the soaring beauty of her sound.”
Michael Church, The Independent

Gyorgy Kurtag KAFTA FRAGMENTS – Royal Opera House, Linbury Studio, April 2013

“An epoch-making performance…Her voice blazes with energy and subsides in exhausted despair. It’s a real tour de force. She has done nothing finer.” *****
Tim Ashley, The Guardian

“…when your director is a video artist as resourceful and inventive as Netia Jones, and when your soprano has the charisma and versatility of Claire Booth, you get a very heady brew.”
Michael Church, The Independent

Craig Armstrong / Zoë Strachan THE LADY FROM THE SEA – Scottish Opera, August 2012

“Claire Booth is glowingly eloquent in the title role…”
Rupert Christiansen, The Telegraph

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Discography & Repertoire

Ryan Wigglesworth ECHO AND NARCISSUS

Hallé Orchestra / Ryan Wigglesworth; Claire Booth, Pamela Helen Stephen, Mark Padmore, Barnabás Kelemen



Aldeburgh World Orchestra, Birmingham Contemporary Music Group, Sir Mark Elder, Oliver Knussen; Claire Booth, Lucy Schaufer, Alexandra Wood, Huw Watkins, Andrew Matthews-Owen (piano)



Claire Booth, Nicky Spence, Patricia Bardon, Andrew Matthews-Owen (piano)


Artist Manager

Sue Nicholls (Cambridge)
01223 706023

Assistant Artist Manager

Caroline Slade (Cambridge)
01223 706414