Scottish Opera: Handel: Orlando, Dorinda

“Claire Booth is dazzling as Dorinda”
**** The Telegraph, February 2011

“Claire Booth was a scene-stealing Dorinda, the most animated actress in a piece which demands much more than standing still and delivering set-pieces.
*** The Independent, February 2011

“The stand out in terms of performance was Claire Booth as Dorinda”
The Evening News, February 2011

Aldeburgh Festival: Britten: Rape of Lucretia, Lucia

“Claire Booth and Hilary Summers, as maid and nurse respectively, sent the mellifluous flower duet wafting seductively around the Maltings’ rafters.”
**** The Guardian, June 2011

Scottish Opera: Rossini: Barber of Seville, Rosina

“Claire Booth’s Rosina, for whom escape, one feels, is as important as the person she is escaping with, is the stand-out delight, sparkling through her coloratura, manipulating everything from her gilded cage with almost as much cunning as Figaro”
**** The Times, October 2011

“Claire Booth’s soprano is the most gorgeous of a fine set of solo voices, her streetwise Rosina no mere passive vessel for male jealousies.
The Daily Express, October 2011

“The highlight of the cast is Claire Booth’s Rosina: gorgeous, sassy and vocally sprightly”
The Herald, October 2011

Royal Opera House, Linbury Theatre: Into the Little Hill/Down by the Greenwood Side

“…The long-awaited London premiere of Benjamin’s chamber opera 'Into the Little Hill' - with two outstanding soloists and the London Sinfonietta in brilliant form. Heroically playing all the parts in this pullulating scenario, soprano Claire Booth and mezzo Susan Bickley make a fine vocal match… the other part is a revival of Harrison Birtwistle's rumbustious pastorale 'Down by the Greenwood Side', with Claire Booth playing the central character as a bag-lady - spirited and wonderfully coarse-grained”
Michael Church, The Independent, 16.02.09

“John Fulljames's new staging, sung and enacted with intense intelligence and musicality by Claire Booth”
Rupert Christiansen, Daily Telegraph, 16.02.09

“If the best test for any music is whether it retains its power whatever the circumstances, then Benjamin's score passed triumphantly. It is a transcendentally beautiful piece, perfectly scaled to Martin Crimp's taut libretto, which updates the Pied Piper story. Bickley and Booth were outstanding, too, getting every word across effortlessly.”
Andrew Clements, The Guardian, 16.02.09

English National Opera, London Coliseum: Riders to the Sea

“She and her daughters (Kate Valentine and Claire Booth, both heartbreaking) are so connected with the elements that their vulnerability and proximity to death is a constant throughout the fragile 40 minutes of Shaw’s poetic staging.”
Edward Seckerson, The Independent, 28.11.08

“Making her ENO debut, the always eloquent Claire Booth is equally striking as Nora”
David Gutman, The Stage, 28.11.08

“Shaw's direction of the family in their little hut is meticulously observant. Nora is vividly characterised by Claire Booth”
Erica Jeal, The Guardian, 29.11.08

Symphony Hall, Birmingham and CBSO: The Rake’s Progress

“I was impressed, too, by Claire Booth’s Anne Trulove: … a warm, silvery voice, crystalline passagework and a delectably flutey top.”
Richard Morrison, The Times, 07.12.07

Opera North: Peter Grimes (opera)

“Opera North's new production is nothing short of a triumph. Music director Richard Farnes conducts with laser-like clarity, and the climaxes of the great choruses and interludes raise the roof - and the hairs on the back of your neck…. a superb supporting cast, among whom I would single out Claire Booth (niece)”.
Rupert Christiansen, The Daily Telegraph, 30.10.06

Scottish Opera at EIF: Death of Klinghoffer (opera)

“Claire Booth’s stunningly sung and deliciously acted cameo as the British dancing girl was a real tour de force”
Frankl Carroll, Sunday Herald, 28 August 2005

“Claire Booth makes a good deal out of her cameo as the Dancing Girl”
Andrew Clements, The Guardian, 24.08.05

Early Opera Company: Flavio (opera)

“Particularly impressive were soprano Claire Booth as Emilia and the promising counter tenor Stephen Wallace as Guido. Both rose superbly to the challenges of Act II where Handel’s score turns darker and more emotionally soul searching. Booth sang ‘Ma chi punir desio’, following Emilia’s discovery that Guido ahs killed her father, with a tremendous expressive range and intensity.”
Ashutosh Khandekar, Opera Now, December 2005

“Booth sounds exquisite as she registers Emilia's growing distress.”
Tim Ashley, The Guardian, 09.07.05

“Claire Booth sang with elegance, soul and caressing style”
Robert Thicknesse, The Times, 11.07.05

GSMD: Marriage of Figaro (opera)

“Claire Booth’s Susanna was superb, though, and enough to carry the drama. She is an effervescent personality with a tangy voice, and is surely destined to become a Susanna of choice in the world’s opera houses.”
Michael Tanner, The Spectator, 13.03.04

“Vocally sweet and agile and a terrific actress, Claire Booth was a tirelessly inventive Susanna and the mainstay of the show, as the role should be.”
Peter Reed, Sunday Telegraph, 14.03.04

“Claire Booth’s Susanna was omnicompetent, an exceptionally cultured singer who is also a terrific actress.”
Robert Thicknesse, The Times, 05.03.04

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