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, Mal in the world premiere of James MacMillan’s The Sacrifice and Alwa Lulu.  Most recently Peter sang The Jailer/Grand Inquisitor Il Prigioniero and The Magician/Nika Magdoff The Consul as part of their amnesty-themed summer season.

Peter appears regularly at the Royal Opera House, Covent Garden and at English National Opera.  For Covent Garden roles include Mortimer in the premiere of George Benjamin’s Lessons in Love and Violence, Shapkin From the House of the Dead,  Fatty Rise and Fall of the City of Mahagonny and Larry King Anna Nicole.  At English National Opera he has sung Laca Jenůfa, Zinovy Lady Macbeth of Mtsensk, Faust The Damnation of Faust and Hermann Queen of Spades.  In other UK appearances he sang Boris Káťa Kabanová for Opera Holland Park and 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.

On the international stage Peter made his Metropolitan Opera debut as Hauptmann Wozzeck and appeared many times as Shapkin in Patrice Chereau’s much loved production of From the House of the Dead, most recently at the Opéra National de Paris.  He sang Alviano Salvago in Schreker’s Die Gezeichneten at the Komische Opera Berlin and in Palermo, Sharikov A Dog’s Heart for Die Nationale Opera, Amsterdam, La Scala, English National Opera and Opéra de Lyon, and Desportes Die Soldaten 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.   Other appearances include Witch Hänsel und Gretel in Amsterdam, Creon Thebans in Bonn and at ENO, and Lady Macbeth of Mtsensk in Lyon.  More recently he sang Shapkin in Tcherniakov’s production of From the House of the Dead at La Monnaie, Mortimer Lessons in Love and Violence in Hamburg, Amsterdam and Lyon, and made his debut as Captain Vere in Annilese Miskimmon’s acclaimed production of Billy Budd for Den Norske Opera in Oslo.

On the concert platform Peter has recently appeared with the Berlin Philharmonic and Sir Simon Rattle in performances of John Adams’ The Gospel According to the Other Mary, recorded as part of the orchestra’s multi-disc box set ‘The John Adams Edition’, as well as Ligeti’s Le Grand Macabre, in a co-production with the London Symphony Orchestra. He appeared at the BBC Proms 2017 singing Schoenberg’s Gurrelieder with the LSO, and the Proms 2016 with the BBC National Orchestra of Wales in Tippett’s A Child of Our Time.  Further performances include Das Lied von der Erde (Harding/Royal Concertgebouw Orchestra and the Royal Flemish Philharmonic), 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, Berlioz Roméo et Juliette (Rattle/Berlin Philharmonic Orchestra), Britten’s Serenade for Tenor, Horn and Strings (Bournemouth Symphony Orchestra), Verdi Requiem (RLPO), La Damnation de Faust and Beethoven Symphony No 9 (RTÉ National Symphony Orchestra and Bochumer Symphoniker), Elgar’s Spirit of England  and La Damnation de Faust at the Three Choirs Festival, Mahler’s 8th Symphony (Elder/BBC Philharmonic Orchestra and the Hallé) and performances of The Cunning Little Vixen with the LSO and Sir Simon Rattle.

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 Káťa 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.

This season opens with a return to English National Opera as Orpheus Man in Birtwistle’s The Mask of Orpheus, followed by his debut with Greek National Opera as the Hauptmann in Wozzeck, a role he will sing next summer in Simon McBurney’s new production for Festival d’Aix en Provence, with Sir Simon Rattle conducting.

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: Tom Wood

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News

Three Choirs Festival 2019

July 24th, 2019

Hazard Chase artists perform in Gloucester at renowned festival

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Tenor heads to Hamburg & Lyon

April 2nd, 2019

Peter Hoare returns to role in acclaimed production

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Peter Hoare in Billy Budd

December 3rd, 2018

Tenor joins cast of new production

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Peter Hoare in world premiere

May 8th, 2018

The Royal Opera House premiere new work by George Benjamin

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Peter Hoare at Covent Garden

March 6th, 2018

New production of Janáček’s From the House of the Dead

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Reviews

Berlioz THE DAMNATION OF FAUST (Three Choirs Festival, Gloucester)

“Peter Hoare sustained his role beautifully, strong especially in the lyrical flights that are the work’s hallmark and that come from Berlioz’s refusal to set the French language as if it were German.”
Stephen Walsh, The Arts Desk, 30th July 2019

Britten BILLY BUDD (Den Norske Opera, Oslo)

“Musically, Oslo gets everything right, from Mark Wigglesworth’s precise, well-structured conducting to the formidable men’s chorus … Peter Hoare is a Vere plagued by self-doubt.”
Shirley Apthorp, Financial Times, 21st January 2019

“The main roles were consistently well performed, but Peter Hoare probably played the most important in the role of the old Captain Vere at the old folks home, especially at the end of the performance. He shaped the melodies so beautifully, that it could just as well have been high-romantic music, and I stopped reading the text because the diction was so clear.”
Magnus Andersson, Klassekampen Musikkmagasinet, 4th February 2019

“Jacques Imbrailos as Billy Budd and Peter Hoare as Captain Edward Fairfax Vere moved seamlessly between desperate falsetto and frustrated full voice… The contrast between the kind-hearted but dubious and somewhat cowardly Captain Vere and the dark, cunning Claggart (John Relyea) was also striking … good role interpretations from both and a conscious musical casting.”
Hild Borchgrevink, Dagsavisen, 21st January 2019

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Benjamin LESSONS IN LOVE & VIOLENCE (Royal Opera House, Covent Garden)

“Even as a military adviser, Mortimer (the bright-voiced tenor Peter Hoare), argues that love — any love — is “poison” to both the human body and the body politic.”
Anthony Tommasini, The New York Times, (11th May 2018)

“Peter Hoare (is) utterly compelling as Mortimer.”
Warwick Thompson, Metro, (11th May 2018)

“Peter Hoare’s Mortimer – wild-eyed but horribly sane in his actions, spinning even the most grotesque logic into plausible, lovely phrases.”
Alexandra Coghlan, The Arts Desk, (11th May 2018)

“Hoare’s Mortimer is sniping, self-righteous.”
Fiona Maddocks, The Guardian, (19th May 2018)

“Peter Hoare brings a fearsome authority to Mortimer.”
Richard Fairman, Financial Times, (11th May 2018)

“Peter Hoare is in clarion voice as the two-timing Mortimer.”
Rupert Christiansen, The Telegraph, (11th May 2018)

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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 is possibly the best Laca I have ever seen or heard, rejected in love and quick with a knife yet compelling as a loser who turns his life around.”
Norman Lebrecht, Slipped Disc, (21st 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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Discography & Repertoire

Adams – THE GOSPEL ACCORDING TO THE OTHER MARY

John Adams Edition: Cast includes  Kelley OʼConnor (Mary), Tamara Mumford (Martha), Daniel Bubeck (Countertenor), Brian Cummings (Countertenor), Nathan Medley (Countertenor), with the Berliner Philharmoniker.

BERLIN PHILHARMON (2017)

Verdi – FALSTAFF (DVD/Blu-Ray)

Cast includes Christopher Purves (title role), Dina Kuznetsova, Tassis Chrystoyannis and Marie-Nicole Lemieux.  Richard Jones production from the 2009 Glyndebourne Festival, conducted by Vladimir Jurowski with the London Philharmonic Orchestra.

OPUS ARTE

Janacek – KAT’A KABANOVA

Cast includes Peter Hoare (Tichon), Cheryl Barker, Jane Henschel and Robert Brubaker.  Conducted by Carlo Rizzi with the Orchestra and Chorus of Welsh National Opera.

CHANDOS (2007)

Artist Manager

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

Associate Artist Manager

Tom Wood (London)
tom.wood@hazardchase.co.uk
020 7084 6951