TENOR

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)

“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)

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


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)