Stuart Skelton

Tenor

Biography

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’sGlagolitic Mass and Schoenberg’s Gurrelieder with Edward Gardner and the Bergen Philharmonic Orchestra.

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Reviews

“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

Whatsonstage.com