Birmingham Contemporary Music Group, Jo Kondo, Three Songs Tennyson Sung and Knussen, Songs for Sue

“Booth sang the setting of Dickinson, Machado, Auden and Rilke with ever greater effectiveness”.
**** The Guardian, March 2011

Northern Sinfonia: Haydn: The Creation

“Soprano Claire Booth, in particular, sent Haydn’s “kyrie eleisons” soaring Haavenwards. It was beautiful easy listening, tried and test balm for ear and soul.”
The Journal, March 2011

Nash Ensemble/Wigmore Hall: Michael Berkeley: Three Rilke Sonnets

“Soprano Claire Booth was the superb soloist, her lead being followed in turn by viola, harp, horn, and bass flute: faithfully illuminating Rilke’s ethereal and allusive poetry”
The Independent, March 2011

BBC Proms/BBC Symphony Orchestra: Berg: Der Wein

“…Alban Berg’s Der Wein, in which Claire Booth was the exemplary soprano soloist, handling the slippery vocal lines as if there was nothing remotely challenging about them.
***** The Guardian, July 2011

Transition Projects ‘The Human Voice’ Kings Place, London

Berio's Sequenza III for solo voice – sung with astonishing, almost devil-may-care fluency by Booth
The Guardian, November 2010

Wigmore Hall: Nash Ensemble Carter 100th Birthday concert

“Even more impressive was Tempo e Tempi (1995), a sensuous, sinuous song-cycle… and the soprano Claire Booth captured its deft metamorphosis quite brilliantly.”
Andrew Clark, Fiancial Times, 26.03.09

“The fabulously assured Claire Booth singing Tempo e Tempi, the song cycle to Italian poems that Carter completed in 1999.”
Andrew Clements The Guardian, 28.03.09

Transition Company: Pierrot Lunaire

“Apart from the Ring, surprises were thin on the ground. But I was struck by the young soprano Claire Booth's powerhouse performance of Schoenberg's monologue Pierrot Lunaire, at Wilton's Music Hall in east London in September, for the new little company Transition. Video can be the easiest way to mess up an opera staging, yet Netia Jones's work was witty and perceptive. Perhaps the real eye-opener was that so much care had been lavished on a tiny, one-night-stand production.”
The Guardian, 07.12.07

Wigmore Hall: Graham Johnson Schubert Birthday Concert

“Mention though, must be made of Claire Booth’s achievement in stepping in at a few hours with minimal rehearsal. Since most of the programme featured songs for high voice, most of the singing fell to her and to Mark Padmore. This isn’t standard repertoire by any means, so all the more credit to her for learning so fast – she sang so well it was hardly noticeable.”
Anne Ozorio, Musicweb-International, 31.01.07

Early Opera Company, Wigmore Hall: ‘Delirio Amoroso’ and ‘Apollo e Daphne’

“……But the twirling violin writing in the aria was far more difficult than anything in the sonata, and Claire Booth's lithe, sparkling soprano matched Martin flourish for flourish, before coming to rest on an impossibly long, pure note while the violin took the spotlight. It was quite a showstopper…… Booth is no Handel specialist - her long-term plans reportedly include Berg's Lulu - but if she wanted, she could probably be the UK baroque world’s new favourite soprano.”
Erica Jeal, The Guardian, 29.01.07

BCMG, BBC Proms: Knussen UK premiere

“…the UK premiere of his requiem, Songs for Sue, formed the emotional crux of the evening.. the clarity and luminousity of this score eloquently sung by Claire Booth.... Knussen also brought his acute perceptiona dn authority to bear in the performance of Luke Bedford’s hauntingly beautiful Or Voit Tout en Aventure – Claire Booth was again the expressive soloist.”
Rian Evans, The Guardian, 25.10.06

Chicago Symphony Orchestra: Knussen ‘Songs for Sue’

“The clear, cool soprano of Claire Booth curled around the words and music, fusing them into something eloquent, poignant and touching within the luminous 15-piece ensemble.”
John von Rhein, Chicago Tribune, 4.04.06

“British soprano Claire Booth brought great warmth to Knussen's haunting texts and vocal line.”
Wynne Delacoma, Chicago Sunday Times, 5.04.06

Opera North: Pierrot Lunaire

“Claire Booth's brilliant negotiation of this complex, expressionist song cycle. She proves perfectly adapted to the vocal eccentricities of sprechstimme, the bizarre hybrid of exaggerated speech inflections and notated pitches, and though the resultant mixture of swoops and growls still has the capacity to alarm, Booth makes it sound ultimately no more artificial than a line of Monteverdian recitative.”
Alfred Hickling, The Guardian, 14.10.05

BBCSO at BBC Proms: Knussen Whitman Settings

“sung with steepling poise and clarity by Claire Booth”
Andrew Clements, The Guardian, 28.07.05

Early Opera Company, Wigmore Hall: Clori, Tirsi e Fileno

“Claire Booth's Clori was all smoky-toned sleekness, capturing just the right amount of manipulative knowingness.”
Tim Ashley, The Guardian, 1.11.05

Endymion Ensemble, Southbank: Nenia: The Death of Orpheus

“Claire Booth.. also gave a startlingly effective performance of Birtwistle's Nenia: The Death of Orpheus, one of the earliest fruits (from 1970) of his immersion in the Orpheus myth. With its accompaniment of three bass clarinets, piano and percussion, Nenia is wonderfully concentrated, a latently operatic piece that Booth presented with more dramatic truth than any performance I've heard before”
Andrew Clements, The Guardian, 22.10.04
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