Peter Hoare

Peter Hoare

TENOR
“Peter Hoare gives a quite chillingly brilliant performance as the dog-man” [A Dog's Heart]

The Telegraph


Representation: General Management

Overview

Tenor Peter Hoare is renowned for his versatility and his musicianship. Much admired by conductors and directors the world over, his extensive repertoire encompasses everything from the more mainstream repertoire to Desportes in Die Soldaten, Larry King in Anna Nicole and Sharikov in The Dog’s Heart.   He has worked with many eminent conductors including Sir Simon Rattle and Esa Pekka Salonen and can be seen regularly at both Covent Garden and English National Opera, as well as houses across Europe and the US.

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Full Biography

Peter Hoare was born in Bradford and initially trained as a percussionist, before making his debut as a singer at Welsh National Opera where his many roles have included Herod Salome and Mal in the world premiere of James MacMillan’s The Sacrifice. His extensive repertoire encompasses everything from the more mainstream repertoire to B.A. Zimmerman’s Die Soldaten, Mark-Anthony Turnage’s Anna Nicole and Alexander Raskatov’s The Dog’s Heart.   He has worked with many eminent conductors including Sir Simon Rattle and Esa Pekka Salonen and can be seen regularly at both Covent Garden and English National Opera, as well as houses across Europe and the US.

Last season Peter stepped in to sing Laca Jenůfa, for Grange Park Opera’s opening season at the newly built Theatre in the Woods at West Horsley Place, appeared as Boris Káťa Kabanová for Opera Holland Park and returned to De Nationale Opera as Maestro di Ballo Manon Lescaut and Sharikov A Dog’s Heart. Recent UK appearances have included Laca Jenůfa, Zinovy Lady Macbeth of Mtsensk, Faust The Damnation of Faust and Hermann Queen of Spades (English National Opera); Alwa Lulu (Welsh National Opera); Dr Cajus Falstaff, Larry King Anna Nicole, Fatty Rise and Fall of the City of Mahagonny (Royal Opera House). International performances include Creon Thebans at Theater Bonn in a co-production with ENO; Witch Hänsel und Gretel (De Nationale Opera, Amsterdam); Schapkin From the House of the Dead (Berlin Staatsoper); Captain Wozzeck (Metropolitan Opera, New York); Sharikov A Dog’s Heart (Opéra de Lyon, Teatro alla Scala, ENO); Lady Macbeth of Mtsensk (Opéra de Lyon); Desportes Die Soldaten in Calixto Bieito’s production for Opernhaus Zürich and in David Pountney’s production at the Ruhr Triennale, the New National Theatre, Tokyo and at the Lincoln Centre in New York.

On the concert platform Peter recently appeared with the Berlin Philharmonic and Sir Simon Rattle in performances of John Adams’ The Gospel According to the Other Mary and Ligeti’s Grand Macabre, a co-production with the London Symphony Orchestra.  Further performance have included Das Lied von der Erde (Royal Concertgebouw Orchestra / Daniel Harding; Royal Flemish Philharmonic / Daniele Callegari); Tippett’s A Child of our Time (Royal Liverpool Philharmonic Orchestra / Gerard Schwarz); Berlioz Romeo et Juliette (Berlin Philharmonic Orchestra / Sir Simon Rattle); Janacek’s The Diary of One who Disappeared and Elliot Carter’s In sleep in thunder with Contrechamps in Geneva and at the Queen Elizabeth Hall in London. He appeared at this year’s BBC Proms with the BBC National Orchestra of Wales, performing A Child of Our Time. Further concert repertoire includes Britten’s Serenade for Tenor, Horn and Strings (Bournemouth Symphony Orchestra; Bochumer Symphoniker); Verdi Requiem (RLPO); La Damnation de Faust and Beethoven Symphony No 9 (RTÉ National Symphony Orchestra and Bochumer Symphoniker); Elgar’s Spirit of England at the Three Choirs Festival; Mahler’s 8th Symphony (Hallé; BBC Philharmonic Orchestra / Sir Mark Elder) and Il Prigioniero (Philharmonia Orchestra / Esa Pekka Salonen).

Peter discography includes Delius’ Song of the High Hills and Master of Ceremonies in Britten’s Gloriana conducted by Sir Charles Mackerras for Decca Records; Tichon Kat’a Kabanová with Carlo Rizzi, and Bardolfo Falstaff with Sir Colin Davis for Chandos; and Leonard Meryll Yeomen of the Guard with Sir Charles Mackerras and the Orchestra of Welsh National Opera for the Telarc label.

In the 17/18 season Peter sings Sapkin in Patrice Chereau’s much loved production of From the House of the Dead at the Opéra National de Paris, and appears as Alviano Salvago in Schreker’s Die Gezeichneten for the Komische Oper Berlin.  He returns to the Royal Opera House, Covent Garden for Krzysztof Warlikowski’s new production of From the House of the Dead and as Mortimer in the world premiere of George Benjamin’s Lessons in Love and Violence.

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: Evie Parker

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News

Peter Hoare at the Enescu Festival

September 20th, 2017

Peter Hoare jumps in last minute to sing the title role in La Damnation de Faust

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Janáček at Opera Holland Park

July 14th, 2017

Peter Hoare and Anne Mason star in Kat’a Kabanova

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Hazard Chase at the BBC Proms

June 27th, 2017

Hazard Chase artists appearing at the BBC Proms 2017

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Janacek at the Theatre in the Woods

June 8th, 2017

Natalya Romaniw makes her role debut as Jenufa, joined by Peter Hoare as Laca and Anne-Marie Owens as the Grandmother at Grange Park Opera’s new home at West Horsley Place

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Peter Hoare’s Piet the Pot

January 16th, 2017

Ligeti’s LE GRAND MACABRE enthralls London audiences at the Barbican

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Reviews

Janacek JENUFA (Grange Park Opera at West Horsley Place)

“I don’t think I’ve ever seen Jenůfa’s hapless suitors Laca and Steva as strongly or sharply defined as they are by Peter Hoare and Nicky Spence. Hoare’s Laca movingly portrays low self-esteem suddenly finding inner strength, […] Both these excellent tenors sing at the top of their game.”
Rupert Christiansen, The Telegraph, (21 June 2017)

“his singing soared with passion, at times recalling the great Philip Langridge”
Melanie Ezkanazi, Music OMH (18 June 2017)

“Peter Hoare’s fine musicianship and keen acting skills help him create a character for whom one feels compassion, despite his flaws.”
George Hall, The Stage (19 June 2017)

“Peter Hoare (Laca) makes this fiendishly high role sound easy, his bright timbre well suited. Hoare is pent with energy, liable to explode at any moment in this volcanic portrayal.”
Louise Lewis, British Theatre Guide (14, June 2017)
Berlioz LA DAMNATION DE FAUST (RLPO/Nelson)

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“Peter Hoare was a late replacement as Faust, though you could hardly hope for better given that he is a veteran of Terry Gilliam’s groundbreaking English National Opera staging that drew a highly plausible link between Berlioz and Monty Python.”
Alfred Hickling, The Guardian (Mar 2017)

Piet the Pot – LE GRAND MACABRE (London Symphony Orchestra)

“As a craven Everyman, Peter Hoare stood out among a fine cast”
Rupert Christiansen, The Telegraph (Jan 2017)

“A uniformly strong cast included especially fine contributions from Peter Hoare as the inebriated Piet the Pot”
Barry Millington, Evening Standard (Jan 2017)

“The central victim of his taunts, Piet the Pot, provides much of the amusement, thanks to Peter Hoare.”
Michael Tanner, Spectator (Jan 2017)

“Peter Hoare was his usual, bravura self”
Richard Fairman, Financial Times (Jan 2017)

“Lazarus’ tender tenor aria at the end of the first act (sung by Peter Hoare) was a stunning highlight.”
Sam Johnstone, Bachtrack (Jan 2017)

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Laca – JENUFA (English National Opera)

“As his overshadowed brother Laca, Peter Hoare’s angry misfit finds a new maturity through his love for Jenufa.”
Clare Colvin, Sunday Express, July 2016

“Peter Hoare is the intense Laca, his voice dark and strong, the man’s bitterness, desire and remorse beautifully realised.”
Tim Ashley, The Guardian, June 2016

“The real strength of the cast, though, is in its pair of tenors, Peter Hoare giving another of his gripping character portrayals as Laca…”
Richard Fairman, Financial Times, June 2016

“As the initially resentful Laca, Peter Hoare uses his clarion tenor to convey nervous energy.”
John Allison, The Telegraph, June 2016

“Peter Hoare [is] a volcanic Laca, liable to erupt at any moment.”
Barry Millington, Evening Standard, June 2016

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Fatty – THE RISE AND FALL OF THE CITY OF MAHAGONNY (The Royal Opera)

“Peter Hoare and his colleagues perform expertly as Fatty and his motley crew”
Rupert Christiansen, Telegraph, March 2015

“Peter Hoare and Willard W. White are terrific as Mahagonny’s sleazeball founding fathers”
Mark Valencia, What’s On Stage, March 2015

“Peter Hoare’s Fatty, impressively suave throughout”
Peter Quantrill, The Arts Desk, March 2015

Creon – THE THEBANS (English National Opera)

“Peter Hoare is exceptional as Creon”
Guy Dammann, Guardian, May 2014

“Peter Hoare was outstanding as the despotic Creon, doomed by his own inflexibility. Hoare commands the whole of proceedings both with gesture and stage movement with a strong, flexible tenor voice”
David Karlin, Bachtrack, May 2014

The Captain – WOZZECK (Metropolitan Opera)

“Peter Hoare has long been an outstanding Captain, not unknown to New York audiences after Esa-Pekka Salonen’s devastating performance with the Philharmonia at Lincoln Center eighteen months ago. Snivelling, abrasive, fundamentally decrepit and yet earnestly devoted to a bankrupt moral order, Hoare’s … tenor suits this role superbly, and his contortions onstage thoroughly enacted the Captain’s inherent hypocrisy.”
David Allen, Bachtrack, March 2014

Dallapiccola – IL PRIGONIERO (Royal Festival Hall, Cond. Esa-Pekka Salonen / Dir. David Edwards)

“Peter Hoare’s Gaoler, dressed as a priest (religion as gaoler of free thought), sounded as plausible as he looked.”
Andrew Clark, Financial Times, January 2012

“Peter Hoare oozed creepiness as the Inquisitor.”
Tim Ashley, The Guardian, January 2012

“Peter Hoare was eminently plausible as the seemingly empathetic Gaoler who turns out to be the Grand Inquisitor undertaking the cruellest of psychological deception.”
Richard Whitehouse, Classical Source, January 2012

“Peter Hoare added yet another highpoint to his already impressive gallery of sinister creeps, singing with unforced clarity, precision and power.”
Stephen Jay-Taylor, Opera Britannia, January 2012

Raskatov – A DOG’S HEART (English National Opera)

“Peter Hoare gives a quite chillingly brilliant performance as the dog-man”
The Telegraph, Rupert Christiansen (Nov 2010)

“……..when Sharik becomes Sharikov, the foul-mouthed, spitting, pissing, nose-picking, balalaika-strumming, lout of the species – the excellent Peter Hoare – whose act one curtain line makes us an offer we can (with some relief) refuse.”
The Independent, Edward Seckerson (Nov 2010)

“Peter Hoare is outrageously excellent as the brute the dog turns into.”
The Express, William Hartston (Nov 2010)

“the real plus of ENO’s version is the assumption of the dog’s “human” form by Peter Hoare, a scratchy, goofy, nakedly uninhibited portrayal that marries vulgarity and pathos.”
Financial Times, Andrew Clark (Nov 2010)

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Artist Manager

Sue Nicholls (Cambridge)
sue.nicholls@hazardchase.co.uk
01223 706023

Assistant Artist Manager

Evie Parker (Cambridge)
evie.parker@hazardchase.co.uk
01223 706414