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Named Male Singer of the Year at the 2014 International Opera Awards, Stuart Skelton is one of the finest heldentenors on the stage today, critically acclaimed for his outstanding musicianship, tonal beauty, and intensely dramatic portrayals. His repertoire encompasses many of opera’s most challenging roles, from Wagner's Parsifal, Lohengrin, Erik, and Siegmund, to Strauss’s Kaiser, Beethoven’s Florestan, Saint-Saëns’ Samson, Dvořák’s Dimitrij, and Britten’s Peter Grimes. Mr. Skelton begins the 2014-15 season with his debut in the title role of Otello at English National Opera in a new production directed by David Alden and conducted by Edward Gardner. Symphonic highlights of his upcoming season include Rachmaninov’s The Bells with Edward Gardner and the BBC Symphony at the BBC Proms, The Dream of Gerontius with Peter Oundjian and the Toronto Symphony Orchestra, Das Lied von der Erde at the Zürich Opera and with the Minnesota Symphony Orchestra under Mark Wigglesworth, Beethoven’s Ninth Symphony with both the Hamburg Philharmonic under Simone Young and the BBC Scottish Symphony under Donald Runnicles, Elgar’s The Kingdom with the Netherlands Radio Philharmonic Orchestra under


Named Male Singer of the Year at the 2014 International Opera Awards, Stuart Skelton is one of the finest heldentenors on the stage today, critically acclaimed for his outstanding musicianship, tonal beauty, and intensely dramatic portrayals. His repertoire encompasses many of opera’s most challenging roles, from Wagner's Parsifal, Lohengrin, Erik, and Siegmund, to Strauss’s Kaiser, Beethoven’s Florestan, Saint-Saëns’ Samson, Dvořák’s Dimitrij, and Britten’s Peter Grimes.

Mr. Skelton begins the 2014-15 season with his debut in the title role of Otello at English National Opera in a new production directed by David Alden and conducted by Edward Gardner. Symphonic highlights of his upcoming season include Rachmaninov’s The Bells with Edward Gardner and the BBC Symphony at the BBC Proms, The Dream of Gerontius with Peter Oundjian and the Toronto Symphony Orchestra, Das Lied von der Erde at the Zürich Opera and with the Minnesota Symphony Orchestra under Mark Wigglesworth, Beethoven’s Ninth Symphony with both the Hamburg Philharmonic under Simone Young and the BBC Scottish Symphony under Donald Runnicles, Elgar’s The Kingdom with the Netherlands Radio Philharmonic Orchestra under Edward Gardner and the Royal Flemish Philharmonic under Edo de Waart, Beethoven’s Missa Solemnis with Philippe Jordan in Teatro alla Scala’s annual televised Christmas concert and with the Sydney Symphony Orchestra under David Robertson, and Janáček’s Glagolitic Mass and Schoenberg’s Gurrelieder with Edward Gardner and the Bergen Philharmonic Orchestra.

This season Mr. Skelton also makes a major role debut, singing Tristan in Tristan und Isolde with the Sydney Symphony Orchestra under David Robertson. He returns to both the Opera de Oviedo and the Atlanta Symphony Orchestra as Samson in Samson et Dalila and to the Bayerische Staatsoper as Siegmund in Die Walküre under the baton of Kirill Petrenko. Other highlights include concert performances of Florestan in Fidelio with the BBC Philharmonic under Juanjo Mena, and the title role of Peter Grimes with the Iceland Symphony Orchestra.

Engagements of recent seasons include Wagner’s Ring Cycle at the Seattle Opera, Paris Opera, and Opera Australia, Parsifal at the Zürich Opera, Fidelio with the English National Opera, Peter Grimes in concert with the London Philharmonic under Vladimir Jurowski, and Wagner concerts with the Bilbao Orkestra Sinfonikoa. Mr. Skelton began 2014 with a return to his signature role of Peter Grimes at the English National Opera in David Alden’s acclaimed production. He also appeared in the title role of The Dream of Gerontius with the BBC Symphony Orchestra and Sir Andrew Davis, the recording of which has been awarded the prestigious Gramophone Choral Recording of the Year 2015 Award. In addition, Stuart has appeared in concert performances of Act III of Siegfried with the Opéra National de Bordeaux under Paul Daniel, in concerts with Sir Antonio Pappano and the Accademia Nazionale di Santa Cecilia, and in concert performances of Peter Grimes with the San Francisco Symphony under Michael Tilson Thomas.

Mr. Skelton has appeared in many of the world’s most celebrated opera houses, including the Metropolitan Opera, Seattle Opera, San Francisco Opera, English National Opera, Paris Opera, Bavarian State Opera, Hamburg State Opera, Berlin State Opera, Deutsche Oper Berlin, Dresden Semperoper and the Vienna State Opera. His roles include the title roles in Lohengrin, Rienzi, Parsifal, Dmitrij and Peter Grimes as well as Florestan in Fidelio, Laca in Jenufa, Erik in Der Fliegende Holländer, The Kaiser in Die Frau ohne Schatten, Bacchus in Ariadne auf Naxos, The Prince in Rusalka, Max in Der Freischütz, Canio in Pagliacci, Gherman in The Queen of Spades, and Siegmund in Der Ring des Nibelungen.

He continues to be in demand on concert stages around the world, in repertoire that includes Mahler’s Das Klagende Lied and Das Lied von der Erde, Beethoven’s 9th Symphony and Missa Solemnis, Verdi’s Requiem, Dvořak’s Requiem, Janáček’s Glagolitic Mass and the Psalmus Hungaricus of Kodály. Mr. Skelton has appeared with such orchestras as the Atlanta Symphony Orchestra, Boston Symphony Orchestra, Chicago Symphony Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Montreal Symphony, Hamburg, Frankfurt and Munich Radio Symphony Orchestras, London Symphony Orchestra, the BBC Orchestras of Scotland and Wales, and the Symphony Orchestras of Sydney, Melbourne, Western Australia, and Tasmania. He has also appeared at the Edinburgh and Lucerne Festivals, and in the BBC Proms.

Throughout his career he has been fortunate enough to work with many acclaimed conductors, including Vladimir Ashkenazy, Daniel Barenboim, Jiři Bèlohlavek, Christoph von Dohnanyi, Christoph Eschenbach, Asher Fisch, Mariss Jansons, Phillipe Jordan, James Levine, Fabio Luisi, Lorin Maazel, David Robertson, Sir Simon Rattle, Donald Runnicles, and Franz Welser-Möst.

His recording of Mahler’s Das Lied von der Erde with Michael Tilson Thomas and the San Francisco Symphony was released on the Symphony’s own label and a recording of the same work, with the Sydney Symphony Orchestra under Vladimir Ashkenazy, was released late in 2010. Other recordings include Beethoven’s 9th Symphony with Sir Charles Mackerras and the Scottish Chamber Orchestra and live recordings of Die Walküre with both the State Opera of South Australia and Seattle Opera. Mr. Skelton also appears as King Arthur on the Teatro Real, Madrid’s DVD of Merlin, released by Opus Arte. Past seasons have seen him make his Metropolitan Opera and Santa Fe Opera debuts as the Drum Major in Wozzeck, returning to the MET in the subsequent season to sing Siegmund in the Lepage Ring Cycle. He has also returned to the English National Opera in the title role of Nikolaus Lehnhoff’s production of Parsifal as well as Erik in Der Fliegende Holländer and Florestan in Fidelio. He has sung Parsifal at the Zürich Opera, made his Dresden Semperoper debut in Lohengrin and made his Berlin Philharmonic debut with Mahler’s Das Lied von der Erde. He has sung the title role of Peter Grimes at the Opera de Oviedo, Tokyo’s New National Theatre, and in concert at the BBC Proms. He has also made his role debut as Gherman in The Queen of Spades in concert performances with the Sydney Symphony under Vladimir Ashkenazy.

Mr. Skelton has twice been honored with the Sir Robert Helpmann Award, once for his performance of Siegmund in the State Opera of South Australia’s 2005 production of the Ring Cycle, and again in 2010 for Best Male Performer in a Lead Role for his portrayal of Peter Grimes for Opera Australia. He received a 2010 Green Room Award for A Streetcar Named Desire and was nominated for an Olivier Award for Outstanding Achievement in Opera for his performances as Peter Grimes with the English National Opera.

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"Le ténor australien Stuart Skelton affronte son rôle non seulement avec vaillance, mais aussi avec une sérénité étonnante: un Tristan qui chante vraiment, sans beugler ni s'érailler!"

Laurent Barthel, Opéra Magazine N.117

"Stuart Skelton’s Grimes has grown in stature and now sits alongside the very finest interpretations of the role. It’s a voice of great beauty, which has everything the part demands, from the exquisite pianissimos of the Pleiades aria to the ferocious power of “And God have mercy upon me,” sung effortlessly with a strapping lad over one shoulder."

Simon Thomas,

"Skleton’s Grimes was as thrilling as I’ve seen and heard it. No one currently sings the part better, more beautifully, more powerfully."

Edward Seckerson,

"Yet the sad human plainness of Neil Armfield’s conception of Grimes combined with Stuart Skelton’s faultless performance in the title role and strong partnership with Susan Gritton have etched this opera on the memory like few others.” “Skelton not only captured the visionary transcendence and fierce strength of Grimes but embodied these in his voice as he cut through the petty gossip of the crowd with the quiet sustained top Es in ‘Now the Great Bear and the Pleiades. "

Peter McCallum , The Monthly,

"…Stuart Skelton on jaw-droppingly good form as Parsifal…"

Shirley Apthorp, Financial Times

"Stuart Skelton’s junior Heldentenor sounded mellifluous in the Drum Major’s music…"

Martin Bernheimer, Opera

"Stuart Skelton made an impressive debut in the heldentenor-like role of the Drug Major."

Mike Silverman, Associated Press

"In a smashing debut, towering heldentenor Stuart Skelton tossed off high notes like grenades as the thuggish Drum Major."

James Jorden, New York Post

"The Australian tenor Stuart Skelton, in his Met debut, was an imposing, bright-voiced Drum Major."

Anthony Tommasini, New York Times

"The heroic Australian tenor Stuart Skelton was compelling in the title role. As Parsifal, the clueless young man who chances upon the knights and comes to understand that he is the innocent fool prophesied as their savior, Mr. Skelton sang with ample sound, burnished colorings and comprehensible diction."

Anthony Tommasini, New York Times

"Stuart Skelton, the finest Siegmund since James King, sang with a freshness and focus that allowed the detailed meaning of the words to come across."

Andrew Clark, Opera

"Stuart Skelton, who was a subtly portrayed Grimes in David Alden’s ENO production, appeared here as Katya’s lover, Boris. He is a bear of a man, a huge stage presence, but sang with tenderness and compassion."

Keith Clarke,

"Stuart Skelton dropped jaws throughout the audience with his bright, virile voice and imposing physique. Yes, he overindulged in the lengths of his cries of ‘Wälse,’ but then when was the last time anyone had heard the Zauberfest sung with such melting comfort? In Skelton we have at last a male Wälsung worthy…"

Theodore Deacon, Opera

"Skelton is magnificent. His ringing tonal clarity and resounding power capture his character’s resolute strength, while the focused sensitivity and scrupulous dynamic control of his exquisite sotto voce singing create unforgettable moments of searing beauty. When he sang the role in London earlier this year he was favourably compared with the likes of Peter Pears, Jon Vickers and Philip Langridge. On the evidence of this performance, it was not hyperbole. He really is that good."

Murray Black, The Australian

"Singing Grimes, Skelton achieves immaculate control and precision without losing the roughness of character. His voice flashes with power yet achieves a mystical serenity in the sustained high notes of the great aria The Great Bear and the Pleiades… [Skelton’s performance] could scarcely be bettered."

Peter McCallum, The Sydney Morning Herald

"Australian tenor Stuart Skelton possesses a heft, handsome tenor that immediately places him in the alternative approach to the title role established by Jon Vickers – one that works on different lines from the English tenor tradition of Peter Pears and his followers, yet just as effectively. Bold and incisive, his singing was consistently impressive, while his acting was sufficiently skilled to make him a persuasive representative of an inadequate, emotionally stunted individual."

George Hall, Opera News

"This superb company achievement has Stuart Skelton’s towering performance at its heart, perfectly combining human frailties with an edge of brutality and moments of touching poetic insight – probably the most complete Grimes in London since Jon Vickers at Covent Garden in the late 1970s. It is the finest possible tribute to Skelton that he should invite such comparisons in what is a very special ENO show indeed."

Andrew Clements, The Guardian

"If he is to get our sympathy, he could not be better cast, for Stuart Skelton gave us a truly humane figure, not just in presence but in a superbly understated vocal performance of much sensitivity and nuance. His soft-grained tenor was a joy, and the voice was admirably full in its lower reaches."

Keith Clarke,

"“...simply overwhelming...Stuart Skelton in the title role. If ever a singing actor combined the force of a Jon Vickers with the crazed inwardness of Pears, it is he. Watching him is hard, so near and yet so far from the healing embrace of the one person who understands him: Ellen Orford."

Edward Seckerson, The Independent

"The burly Australian tenor Stuart Skelton sings Grimes with tremendous sinew and sureness..."

Rupert Christiansen, The Telegraph

"Stuart Skelton’s Grimes, poetic and distrait, with outbursts of belligerence, is impressively delivered."

Barry Millington, The Evening Standard

"Australian heldentenor Stuart Skelton brought a big, open sound to the role of Siegmund. He sang the role at the Metropolitan Opera earlier this year, and he paced himself well at Grant Park. His voice was ardent, flexible and full of hope in the ‘Wintersturme’ section, while his ringing cries as he captured the opera's magic sword were thrilling."

Wynne Delacoma, Chicago Sun-Times

"[Christine Brewer] had a worthy Florestan in tenor Stuart Skelton, absolutely stunning in his heartfelt cry of ‘Gott! Welch Dunkel hier! (God! What darkness here!),’ expressing a world of emotions in the first beautifully sung word."

Sarah Bryan Miller,

"The captive husband of Leonore, Florestan, was tenor Stuart Skelton. He possesses a clarion tenor with a warm honeyed timbre. His second-act opening aria, Gott! Welch Dunkel hier!, as it emerged from a dark abyss was startlingly beautiful; a piercing cry from the very soul."

R. Spencer Butler, Palm Beach Daily News

"His singing was both heroic and lyrical, marked by ringing top notes that emerged with an unforced sweetness, and he crisply charted José's descent into murderous jealousy. The Act 2 "Flower Song," where so many tenors come to grief, sounded exquisite."

Joshua Kosman, San Francisco Chronicle

"[T]he Australian Stuart Skelton, makes Laca’s unshakeable, self-baffled fidelity to Jenůfa deeply moving."

Paul Driver, The Sunday Times

"What a superb London stage debut, too, by the Australian tenor Stuart Skelton, playing Laca. The roughness in his big voice is exactly right for a man whose love is so great, but whose powers of articulation so inadequate, that he can only vent his feelings through violent deeds. The moment when he hurls a table at the mob that has torn apart the set and threatens to lynch Jenůfa is simply thrilling theatre."

Richard Morrison, The Times

"Stuart Skelton is the finest Laca I have heard"

Andrew Clark, Financial Times

"The principal role was in superb hands with tenor Stuart Skelton. His Oedipus was at the outset every inch a king, self-possessed, fearless in his resolve; later, in resigning himself to fate, he was no less noble or sympathetic. In Oedipus’s final declaration, ‘Lux facta est’ (All is made light), the haunting simplicity of Skelton’s singing was unforgettable."

Wayman Chin, Opera News

"Australian tenor Stuart Skelton brought to the title role the vocal resources of a Wagnerian hero and the verbal imagination of a Lieder recitalist. His frock coat made him look more like a doctor in a western than a king, but the slow dawning of the truth across his face was painful to watch."

Richard Dyer, Boston Globe

"Stuart Skelton (tenor) sang brilliantly as the pathetic hero."

Keith Powers, Boston Herald

"In the title role, tenor Stuart Skelton is about as good as Parsifal gets, with beautifully modulated phrasing, effortless power, crystal-clear diction and tender top notes. Add to that a tall, solid frame and you have a Wagnerian hero."

Shirley Apthorp,

"Tenor Stuart Skelton, a late replacement for Anthony Dean Griffey, rose superbly to the challenge of the title role, his singing sinewy and clear."

Joshua Kosman, San Francisco Chronicle

"Stuart Skelton, an Australian, has the kind of baritonal tenor ideal for Siegmund and for Wagner in general and must expect to be sought after on the grandest stages for years to come."

Roger Covell, Sydney Morning Herald

"…Siegmund…is Stuart Skelton, singing with such heroic presence and sensuality, such subtlety of tone…"

Ewart Shaw, The Advertiser

"Peter Grimes ist jetzt Stuart Skelton, der sich schnell das Zentrum des Abends erspielt. Skeltons aggressive, hymnische Exklamationen die an die Qualitäten der Referenz-Aufnahme von Jon Vickers denken lässt. Peter Grimes this time is Stuart Skelton, whose performance soon placed him firmly at the centre of the evening. Skelton’s aggressive, hymn-like outcries [were] reminiscent of the reference recording of Jon Vickers.” "

Bernhard Uske, Frankfurter Rundschau

"Stuart Skelton entwickelte die widersprüchlichen Facetten der Titelfigur fast mustergültig: intelligent und instinktsicher in seiner Profession, bis zur Borniertheit eigensinnig und starr im Verhalten, in seinen Visionen einer glücklichen Zukunft von einer Empfindungstiefe, die selbst seinen verschlossenen Lehrjungen John.” Stuart Skelton developed the contradictory facets of the title figure in exemplary fashion: a man of intelligence and sure instinct in his profession, stubborn and rigid in behaviour, but with a depth of feeling in his visions of a happy future which touches even his withdrawn apprentice John. "

Benedikt Stegemann, Frankfurter Allgemeine Zeitung

"Stuart Skelton singt den Rienzi, verkoerpert ihn musikalisch so intensiv, wie es vielen anderen mitsamt Szene nicht gelingt. Er hat den lyrischen Schmelz wie die grosse Fortissimo-Attacke. Ganz am Ende in der grossen Gebetsarie laesst er das alles noch einmal zusammenschiessen, zeigt den Rienzi in seinem verbissenen Glauben, die Welt richten zu koennen als der einsame und letzte der Tribunen. Stuart Skelton sings Rienzi, embodying the role musically so intensively, as many others try but do not achieve even in sections. He possesses both lyric mellifluousness as well as huge fortissimo attack. At the very end of the great prayer aria he lets it all flow together again, showing Rienzi 's grim and determined belief to be able to right the world as the lone and last of the tribunes.” "

Annette Eckerle, Stuttgarter Nachrichten

"Dazu ein exquisites Saenger-Ensemble: Stuart Skelton in der Titelrolle greift mit angenehm unsentimentaler Heldentenor-Attituede schon direkt auf den Lohengrin voraus. In addition there is an exquisite ensemble of singers: Stuart Skelton in the title role with his non-sentimental heroic tenor attitude leaves an impression directly pointing toward Lohengrin. "

Christoph Mueller, Schwaebisches Tagblatt

"Neben diesem Haupthandlungstraeger liegt das entscheidende Gewicht auf dem Titelheld, der von Stuart Skelton (Rollendebut) mit der erforderlichen charismatischen Individualitaet ausgefuellt wurde. Ein aparter, in den Registern ausgeglichener, in rezitativischer Ansprache und melodischer Ausgestaltung konstante Qualitaet bewahrender, keinerlei Verfaerbungen und Verquellungen vernehmen lassender Tenor, der sich die Rolle klug einteilt und nach starker Beanspruchung kein in Einheitslautstaerke staehlern exektutiertes, sondern von Intelligenz und Musikalitaet zeugendes Gebet hoeren laesst, das aus tragfaehigem Piano zu erhabener Kraft aufschwingt. Zum Niederknien! Der gesamte textlich ausdifferenzierte und technisch sicher fundierte Vortrag Skeltons fesselte durch den Zusammenfluss von Verinnerlichung und Inbrunst. Der Australier sollte sich jedoch hueten nach diesem bedeutenden Abend zu viele Angebote von grossen Haeusern anzunchmen und die kostbare Stimme durch zuviel Krafteinsatz zu belasten.” Apart from the carrier of the main plot, the decisive weight lies with the title hero, who was filled by Stuart Skelton (role debut) with the necessary charismatic individuality. A distinctive tenor, balanced in all registers, maintaining constant quality in recital as well as melodic form and never showing any discolouration or warping, he arranged the role very cleverly and even after the previously required effort does not perform a steely executed prayer, but rather a prayer which bears witness to intelligence and musicality, which swings from a carrying piano to exalted power. The audience felt inspired to kneel before this singer! The entire texturally differentiated and technically securely founded performance of Skelton enthralled the audience with the combination of spiritualisation and ardour. Following this significant evening, the Australian should be careful to accept too many offers by the great opera houses, unless undue stress be imposed on this valuable voice. "

Udo Klebes, Der Neue Merker

"Der australische Tenor Stuart Skelton verstroemt hier puren vokalen Balsam, beweist hoechste Kunst der Stimmfuehrung und Timbrierung, als haette es zuvor die Anstrengungen, die er so bravouroes meisterte, gar nicht gegeben. Es ist dies nichts anderes als eine saengerische Sensation - und zwar keineswegs die einzige in der konzertanten , von Peter Schrottner dirigierten 'Rienzi' - Auffuehrung der Stuttgarter Staatsoper.” ... The Australian tenor, Stuart Skelton, exudes pure vocal balm, proving the highest artistic talent in vocalisation as well as timbre, as if the previous efforts, which he mastered so wonderfully, had not existed at all. He is nothing less than a singing sensation - in this "Rienzi" in concert form, conducted by Peter Schrottner at the Stuttgarter Staatsoper. "

Martin Mezger, Esslinger Zeitung

"The title role was sung stunningly well by Stuart Skelton, an Australian tenor new to us: effortless, clarion tone allied to expressive musicianship."

Rodney Milnes, London Times

"Opera North [brought] together a superb international team of soloists for a semi-staged production of Stravinsky's Oedipus Rex..... It was a deeply disturbing realisation, the final scene as Oedipus blinds himself with the pin from his mother's brooch, chillingly brought to life. Stuart Skelton's singing of the role was all that one could have wished for."

David Denton, Yorkshire Post

"Einem angenehm timbrierten, kultiviert gefÜhrten Tenor mit strahlkraft in der Höhe bringt Stuart Skelton für den Lohengrin mit. A pleasantly timbred, cultivated and well controlled Tenor with radiant power in the high voice was brought for the role of Lohengrin by Stuart Skelton. "

Nike Huber, Stuttgart Nachrichten

"Skelton sang der Schwanenritter mit einem strahlender metallisch fundierten Heldentenor. Skelton sang the Swan Knight with a radiant, metalically timbred Heldentenor. "

Badisches Neues Nachrichten

"In der titelrolle überzuegt Stuart Skelton, besonders in der schön und geradezu empfindsam modellierten leise und melodische teilen, wie im Großen duet der 3 Aktes. The Title Role was convincingly sung by Stuart Skelton, especially in the beautiful and almost sentimentally modulated soft and melodic sections, like the large duet from the 3rd Act (Brautgemach.) "

Der Rheinpfalz

"Eine stimmlich hervorragende leistung erbrachte Stuart Skelton als Lohengrin (11.7.). Hier wächst anscheinend eine große Hoffnung für das schwierige Fach des Wagner-Tenors nach: Die kräftige Stimme hat einen guten dramatische Kern, weist heldentenorale Attacke und eine hohe Intensität auf. Auch über leise Töne und Dfferenzierungsvermögen verfügt der Sänger. A vocally outstanding performance from Stuart Skelton as Lohengrin. Here, apparently, is a great hope for the difficult tasks of the Wagner tenor. His powerful voice has a good dramatic core, a Heldentenor’s attack and a great deal of intensity. He also had soft tones and the ability to bring light and shade at his complete command. "

Ludwig Steinbach, Der Neue Merker

"Stuart Skelton ist ein Narraboth ohne Fehl und Tadel. Stuart Skelton is a Narraboth without fault or blemish. "

Von Susanne Kaulich, Mannheimer Morgen

"Schulte-Michels Inszenierung hat den Fokus aber nicht nur auf das zentrale Paar und ihre tödliche Liebes-Begegnung gerichtet. So erhält der junge, in Salome verliebte Hauptmann Narraboth auch dank der fulminanten Gesangsleistung von Stuart Skelton, der schon als Lohengrin überzeugte, imponierende Gestalt. Shulte-Michels direction had the focus not only on the central pair and their deathly love battle. That also was awarded to the young, in love with Salome captain, Narraboth, thanks to the brilliant vocal performance from Stuart Skelton, who had already shown impressive form as a convincing Lohengrin. "

Von Thomas Weiss, Pforzheimer Zeitung

"Stuart Skelton singt den Narraboth mit strahlend schönem Tenor. Stuart Skelton sang Narraboth with a radiantly beautiful Tenor. "

Von Nike Luber, Badisches Tagblatt

"Zu den sängerischen Lichtblicken gehörten Stuart Skelton, der als Narraboth mit erlesenen Tenorkantilenen aufwartete. “The ray of hope of the singers was Stuart Skelton who, as Narraboth, served us with an exquisite Tenor cantilena. "

Von Karl Georg Berg, Die Rheinpfalz

"Mit Stuart L Skelton war endlich ein Erik zu hören. Der diese heikle partie nicht nur sicher, sondern auch noch mit schönem stimmklang zu singen vermochte. With Stuart Skelton there was finally an Erik worth hearing. In this difficult role he was not only secure, but able to sing also with a beautiful tone. "

K. F. Shulter, Operglas Ausgabe

"In Janáček’s ‘Glagolitic Mass’ the soloists were uniformly excellent, especially Measha Brueggergosman and Stuart Skelton, who between them had the larger parts to sing, and whose range and power rode magnificently over the heftiest tuttis without losing the many passages of lyrical beauty. Skelton, in particular, in the high tessitura of his part, was absolutely magnificent. In musicianship and understanding they were quite superb."

Robert Matthew Walker,

"Die Sensation des Abends war der australische Tenor Stuart Skelton, der zur Zeit die Welt erobert. So einen Siegmund hört man nicht alle zehn Jahre: Die athletische Ausstrahlung eines Peter Hofmann stößt auf ein Stimm-Material, das alles bietet: lyrische Eleganz, raumgreifende Fülle, Textdeutlichkeit und heldische Emphase. Bayreuth, wach auf! The sensation of the evening was the Australian tenor Stuart Skelton, who is currently conquering the world. One does not hear a Siegmund such as his even every ten years. He has the athletic presence of a Peter Hofmann and a voice that offers it all: lyrical elegance, space-filling volume and fullness, clear diction and heroic emphasis. Bayreuth, wake up! "

Westdeutsche Allgemeine Zeitung

"Stuart Skelton's Siegmund…is something special: a clear, dark genuinely lyric heldentenor (if that's not an oxymoron) full of emotional vulnerability - perhaps the finest singer I've heard in this role since Ben Heppner or even James King......the voice is gorgeous."

Richard Lehnert, Stereophile

"Stuart Skelton, as Siegmund, gives the disc's best performance with a mahogany rich and glowing voice … The disc is an important aural documentation of the historic 2004 Adelaide Ring and provides radiant listening."

Peter McCallum, The Sydney Morning Herald

"Skelton is the real thing--a heldentenor with a baritonal lower tinge that brightens as it rises, and stunning breath control (his cries of ‘Wälse!’ seem to go on forever). (…) A technically superb recording … some of the most remarkable playing I’ve ever heard … Sound quality 10/10."

Robert Levine, Classics Today

"Stuart Skelton’s Siegmund: He possesses the special heroic tone, a molten bronze-gold alloy; the clarity of a tenor with the colours of a baritone; the inexhaustible breath – these Wälse which never seem to finish – valour and youth. However, his interpretation is not satisfied merely with vocal hedonism; it also expresses the weight of the fate which hounds him. More still than the poetry of spring, he gives himself up to the despair of the duet of the second act, the todesverkündigung was received with such a resigned pain such that his nobility of expression was transcendent."

Christophe Rizoud, Forum Opera

"Also touching is Stuart Skelton's Siegmund. Steely of tone, and impressively elastic in his range, Skelton is the most promising young Wagnerian to emerge from Australia since..(Lisa) Gasteen. Few Wagner-nuts will be able to resist this recording."

Anna Picard, Bloomberg

"As well as Gasteen's Brünnhilde, the reason to buy the beautifully-presented set is Stuart Skelton's Siegmund. Here is a voice to listen for in the future. The Winterstürme aria is precise and demonstrates a golden voice, while the conclusion of his duet with Sieglinde is electrifying. He has both the sense of drama and the vocal power and beautfy for this music."

Dominic McHugh,

"The Volsung twins are an impressive pair, too. Stuart Skelton… has reserves of intensity which … are used to genuinely thrilling effect."

Arnold Whittall, Gramophone

"An almost entirely Australian cast, headed by Stuart Skelton and Deborah Riedel's exceptional Volsung twins. Skelton's Siegmund blends the lyrical and heroic compellingly.”"

Michael Scott Rohan, BBC Music Magazine

"It is Stuart Skelton who gives the stand out vocal performance, his youthful, ardent voice with its rich baritone quality making him an ideal Siegmund. Right from the word go, the opening moments of Act I are stupendous – the orchestral sound during Siegmund’s running-through-the-forest prelude exemplary, and both Deborah Riedel’s Sieglinde and Stuart Skelton’s Siegmund performances are highly impressive. ……….Skelton’s contribution particularly struck me as I listened to the recording – the budding heldentenor ring was blossoming before my ears most impressively, and was a consistent thrill right through to his demise in Act II, and was complemented by splendid vocal acting. [Skelton’s] extended story-telling near the end of the act is very impressive – its dynamic range astonishing, impressing particularly when it’s reined in to the very brink of inaudibility, but as robust as they come when he lets loose the decibels required to do full justice to the interminably held Notungs as he names the sword in the tree and wrenches it free…"

Michael Sinclair, The Opera Critic

"Stuart Skelton was simply heartbreaking as a shambling, bewildered Grimes, implying derangement in this lonely fisherman, his vocal flexibility allied to despairing body-language."

Christopher Morley, Birmingham Post

"Given today’s most accomplished interpreter of the violent-visionary fisherman, Stuart Skelton, and a conductor in Vladimir Jurowski always poised hawk-like to claw revelatory new detail from the score, the musical performance was as unforgettable as they come."

David Nice, The Arts Desk

"Skelton was superb when he sang Grimes in David Alden's exceptional ENO production four years ago, but now, with his experience of singing roles such as Tristan and Otello, there's an extra dimension, and the vocal heft is complimented by a touching delicacy when needed; his angry despair in his second-act confrontation with Ellen was heartbreaking, Every facet now is exceptional."

Andrew Clements, The Guardian