Edvard Grieg: Lyric Music Avis Records

“Booth and Glynn are certainly on fire here… the placing of the cycle Haugtussa In the middle of the programme is inspired. Booth here goes all out to capture the yearnings and frustrations fo the shepherd girl with a truly contemporary lack of inhibition. The historic performances by Kirsten Flastad sound emotionally prim in comparison… This new recital, strongly recommended, contributes greatly to the catalogues.”
Gramophone, Autumn 2019

Grange Festival: Handel: Belshazzar, Nitocris

“A barn-storming performance by an actor-singer who can raise the dramatic heat as soon as she enters the stage”
Opera Now Magazine, Summer 2019

Royal Opera / London Handel Festival: Handel: Berenice, Berenice

“The role of Berenice.. sung with due star-quality by Claire a booth, who plays the ill-fated Egyptian queen with a temperamental dash of Olivia Colman from The Favourite.”
**** Financial Times, March 2019

Percy Grainger: Folk Music Avie Records

“Booth sings with disarming purity….. (she) and Glynn beautifully manage the contrasts between simplicity and immense sophistication”
**** The Guardian, June 2017

Welsh National Opera / Festival of Voice: Poulenc: Voix Humane, Elle

“Claire Booth gives an unforgettably intense performance…. her expressiveness so intense, the colours of the voice so beautiful, this doesn’t feel virtual but all too real. Booth throws back the pills with abandon, not fearing to choke. Her eventual collapse is shattering, her guests file out as though from a funeral”
***** The Guardian, June 2016

“We are invited to a party at an apartment and greeted individually by soprano extraordinaire Claire Booth, who enacts with wringing plausibility a transition from gracious hostess to desperate would-be suicide”
***** The Independant, June 2016

Welsh National Opera: Rossini: Il Barbiere di Siviglia, Rosina

“Claire Booth was a polished Rosina, singing immaculately with florid vibrato and a feminine guile. Booth deserved credit for performing more of the evening dressed in her underwear and as a manga-esque schoolgirl, than as a wealthy heiress!”
Bachtrack, March 2016

ROH Linbury Studio: Haas: Atthis

“Soprano Claire Booth’s extraordinary performance is something altogether wilder and more elemental. Booth is an intensely watchable performer, responsible for translating so many contemporary works into an emotional language an audience can understand. Here she tackled Haas’s extreme vocal writing with complete conviction, delivering what is often instrumental rather than vocal technique with awareness both of her role as another texture in the ensemble, and with the dramatic command demanded by this still, music-driven production”
The Arts Desk, April 2015

Welsh National Opera: Rossini: Mose in Egitto, Elcia

“Claire Booth is in sensational voice as his beloved Elcia, both refined and tender in equal measure”
Financial Times, October 2014

“Claire Booth’s Elcia is outstanding, vocally warm and secure, a portrait of emotional agony with shades of Mozart’s Elektra, but in a way more touching because more human”
The Arts Desk, October 2014

Garsington Opera: Cunning Little Vixen, Vixen

“Booth’s vixen is so vibrantly sung, and her own love affair with her Fox so charmingly staged (a first date where you forget your table manners – we’ve all done it) that one of opera’s most multifaceted heroines is still allowed to bewitch us”
**** The Times, June 2014

“Claire Booth is a marvellously vital vixen, singing and playing with an energy that makes her the life-force of the opera”
**** The Times, June 2014

“Claire Booth hears up a fabulous cast with a knockout performance in the title role. Her voice is well suited to choppy writing, but her command of the role’s irrepressible passion exceeds even high expectations, and the scene in which she reflects on having found a true mate is almost unbearably moving.”
**** The Guardian, June 2014

“Claire Booth is a riveting revelation in the title role, her spirited Czech infections ringing out at every turn. We can’t take our eyes off her captivating personage from the minute she sits down wistfully in the first scene. As she explodes into life, her tongue-in-cheek feminism goes vivaciously hand in hand with killer instincts”
The Arts Desk, June 2014

“Claire Booth’s vixen is beyond compare, both in the way she moves and acts, and in the soaring beauty of her sound”
**** The Independant, June 2014

Welsh National Opera: Harvey: Wagner Dream, Pakriti

“Claire Booth’s gorgeously-toned Pakriti is exceptional”
**** The Guardian, June 2013

ROH Linbury Studio: Kurtag: Kafka Fragments

“An epoch-making performance… her voice blazes with energy and subsides in exhausted depasair. It’s a real tour de force. She has done nothing finer”
***** The Guardian, April 2013

“And Booth’s body language – standing, grey-suited, crawling, dancing – moves with the pitch and inflection that she holds, miraculously in her memory, and recreates with such sensitivity and vocal virtuosity”
***** The Times, April 2013

“When your director is a video artist as resourceful and inventive as Netia Jones, and when your soprano has the charisma and versatility of Claire Booth, you get a very heady brew”
**** The Independant, April 2013

Scottish Opera: Armstrong: The Lady from the Sea, Ellida

“Claire Booth is glowingly eloquent in the title role”
**** Daily Telegraph, August 2012

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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