Grieg LYRIC MUSIC CD (Avie Records 2019)

“Booth and Glynn are certainly on fire here … such a performance and balance helps to push the still undervalued dramatic status of Haugtussa across any language barrier. This new recital, strongly recommended, contributes greatly to the catalogues as a kind of heightened guide to Grieg’s song-writing.”
Mike Ashman, Gramophone Magazine (November 2019)

Handel – BELSHAZZAR (The Grange Festival)

‘…Claire Booth’s Nitocris was devoured by emotional conflict and religious zeal – a barn-storming performance by an actor-singer who can raise the dramatic heat as soon as she enters the stage’.
Ashutosh Khandekar, Opera Now Magazine (July 2019)

“Claire Booth’s Nitocris proved the pick of a dramatically engaging cast … her soprano radiant but vulnerable, torn between indulgent loyalty to her swinish royal son and sympathy for sagacious Daniel and the dignified Jews, as she sings that “Alternate hopes and fears distract my mind”.”
Boyd Tonkin, The Arts Desk (24th June 2019)

“Booth came into her own in the second half in the almost Freudian duet with (Christopher) Ainslie.”
Tim Ashley, The Guardian (22nd June 2019)

“Clare Booth’s resinous soprano brings rich emotion to Nitocris’ plight.”
Rupert Christiansen, The Telegraph (21st June 2019)

Songs and Vexations (Nimbus Records)

“Essentially the emotional centrepiece of the disc nevertheless remains Debussy’s own ever-remarkable Cinq Poèmes de Charles Baudelaire. Booth throws herself fully into their heady world, her voice breathy and open in its timbre and often indecently sensuous – and always used intelligently.”
Hugo Shirley, Gramophone, May 2019

Nash Ensemble, Wigmore Hall

“The closing piece, much gentler, was Birtwistle’s 1999 mini-cantata The Woman and the Hare, setting enigmatic lines by David Harsent. Beautifully sung and narrated by Claire Booth and Simone Leona Hueber respectively, it’s a surprisingly sensuous excursion into the surreal, symbolist musical country first mapped by Schoenberg in Erwartung and Verklärte Nacht.”
Richard Morrison, The Times, April 2019

Handel BERENICE (Linbury: Royal Opera House)

“She made a highlight not only of her Act 3 scena … but of her rarely heard F-sharp minor arioso, unaccountably cut by Handel but restored here to lavishing effect.”
Hugh Canning, Opera Magazine, June 2019

“A stylish and commanding performance as the scheming Berenice.”
Rupert Christiansen, The Telegraph, 28th March 2019

“dramatically vivid and feisty Claire Booth … (she) does the venom most persuasively.”
David Nice, The Arts Desk, 28th March 2019

“The dominatrix tendencies of Claire Booth’s Berenice are matched by her formidable vocal delivery.”
Barry Millington, Evening Standard, 28th March 2019

“Claire Booth is imperious as the Egyptian queen Berenice, and her gradually intensifying duet with James Laing’s beautifully sung Demetrio at the end of Act 1 is a musical high point.”
Erica Jeal, The Guardian, 28th March 2019

“In the title role Claire Booth delivers her arias sumptuously, and almost turns her recitatives into 20th-century Sprechstimme, so intense is her delivery.”
Richard Morrison, The Times, 28th March 2019

Benjamin A MIND OF WINTER (BBC Philharmonic)

“Another early musical landscape — the chilly Wallace Stevens setting A Mind of Winter — displayed Benjamin’s punctilious command of intricate texures on a smaller scale. It also showed that in 1981 he hadn’t yet learnt how to write vocal lines that allow every word to be heard. Even with the super-skilled Claire Booth singing, the text of Stevens’s poem stayed a beautiful blur.”
Geoff Brown, The Times, 24th January 2019

Birtwistle THREE SONGS FOR THE HOLY FOREST (Aldeburgh Festival)
“the unfailingly eloquent and precise Claire Booth”

Debussy arr. Boulez CHANSONS DE BILITIS (Aldeburgh Festival)
“ravishing aphorisms wrapped sensuously around Booth’s equally beguiling recitations.”
Andrew Clements, The Guardian (June 2018)

Britten LES ILLUMINATION – BBC Scottish Symphony Orchestra
“Britten’s Rimbaud settings, Les Illuminations, a pivotal work in his personal life as well as his catalogue, concluded that first half, with soprano Claire Booth – a singer often heard tackling the most challenging contemporary music – on fine form”
Keith Bruce, The Herald Scotland (April 2018)

“Booth gave a radiant, rapturous, wonderfully nuanced performance, adjusting her sound from piercing purity through to luscious richness to respond to Rimbaud’s hallucinatory texts – and there was always a delicious sense of danger behind her unsettling declamations.”
David Kettle, The Scotsman (April 2018)

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)

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