Berg WOZZECK (Greek National Opera)

“Peter Hoare is delightfully hysterical.”
James Imam, Financial Times, 20th January 2020

Birtwistle THE MASK OF ORPHEUS (English National Opera)

“Peter Hoare may have represented Orpheus the Man, but his performance was truly heroic.  Onstage throughout, he sustained this most demanding of vocal parts with courage and persuasion.”
Jonathan Cross, Opera Magazine, January 2020

“In the insanely demanding title-role, a brave and accomplished performance by a scantily clad Peter Hoare deserves prizes.”
Rupert Christiansen, The Telegraph, 19th October 2019

“Huge respect to the heroic performers, especially Peter Hoare as Orpheus.”
Richard Morrison, The Times, 21st October 2019

“Peter Hoare’s formidable account, often half-naked or draped in a short red robe and looking uncannily like Eddie Izzard or a grizzled Gary Glitter, deserves an Oscar.”
Fiona Maddocks, The Guardian, 26th October 2019

“Peter Hoare is brilliant, as always, as Orpheus the Man.”
Richard Fairman, Financial Times, 21st October 2019

“Every praise to Peter Hoare for stamping his vivid vocal identity upon a taxing role created by the late, great Philip Langridge.”
David Nice, The Arts Desk, 21st October 2019

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

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)

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)


“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


“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