Claire Booth



“An actor-singer who can raise the dramatic heat as soon as she enters the stage” (Opera Now), “that most questing, resourceful and intelligent of sopranos” (Daily Telegraph), British soprano Claire Booth has been widely acclaimed for her “radiant, rapturous, wonderfully nuanced performances” and voice of “piercing purity [and] luscious richness” (The Scotsman). She is renowned for her breadth of repertoire, and for the vitality and musicianship that she brings to the operatic stage and concert platform, with a versatility that encompasses repertoire spanning from Monteverdi and Handel, through Rossini, Berg and Britten, to a fearless commitment to the music of the present day.

Booth’s performances in 2019 and 2020 provided a perfect showcase for her multifaceted vocal skills and interests, including the title role in Handel’s Berenice for the Royal Opera House’s first production of the opera since it’s 1737 Covent Garden premiere, and Nitocris in Handel’s Belshazzar for the Grange Festival, critically acclaimed recordings of songs by Grieg and Percy Grainger, performances of Tippett’s A Child of Our Time with the City of Birmingham Symphony at Hamburg’s Elbphilharmonie, George Benjamin’s A Mind of Winter with the Hong Kong Philharmonic, and the world premiere of Alex Woolf’s A Feast in the Time of Plague for Grange Park Opera.

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“Claire Booth and Christopher Glynn’s La Voix Humaine for Grange Park Opera is as good as it gets. …. soprano Claire Booth pours herself into the role of Jean Cocteau’s complicated , self-deceiving heroine Elle, pain and anger spilling over into controlled chaos… it didn’t occur to me to cry, I was far too moved.”

The Spectator

“Poulenc’s monodrama La Voix Humaine, recorded earlier this week on stage by that most questing, resourceful and intelligent of sopranos Claire Booth..“

The Telegraph

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“How faithfully should the sprechgesang settings of the text be observed?….Claire Booth was the soloist here, and got that balance between speech and song exactly right. There was certainly caricature in her presentation – which stayed on the right side of winsomeness – but musical accuracy too.”

The Guardian

“Claire Booth’s Nitocris was devoured by emotional conflict and religious zeal; a barn storming performance by an actor-singer who can raise the dramatic heat as soon as she enters the stage.”

Opera Now

“The role of Berenice, sung with due star quality by Claire Booth, who plays the ill-fated Egyptian Queen with a temperamental dash of Olivia Colman from The Favourite”

Financial Times

“Booth gave a radiant, rapturous, wonderfully nuanced performance, adjusting her sound from piercing purity thought to luscious richness to respond to Rimbaud’s hallucinatory text”

The Scotsman

“La Voix Humaine is one of the hardest tests for a soprano and in this new production Claire Booth makes it wholly unforgettable… with Booth’s expressiveness so intense, the colours of the voice so beautiful, this doesn’t feel virtual but all too real”

The Guardian

“Booth is an intensely watchable performer, responsible for translating so many contemporary works into emotional language an audience can understand. Here she tackled Haas’ extreme vocal writing with complete conviction”

The Arts Desk

“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 than as a wealthy heiress…“


“An epoch-making performance – her force blazes with energy and subsides with exhausted despair. It’s a real tour de force. She has done nothing finer.”

The Guardian

“Claire Booth heads 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

“Booth and Glynn are certainly on fire here… Booth goes all out to capture the yearnings and frustrations of (Haugtussa) with a wholly contemporary lack of inhibition… this new recital, strongly recommended, contributes greatly to the catalogue.”