Claire Rutter

Soprano

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This season, the renowned British soprano, Claire Rutter, sings performances in the title role Tosca at Icelandic Opera and at Welsh National Opera, where she also appears as Leonora La Forza del Destino. During the summer she returns to Grange Park Opera where she takes on the role of Amelia Un Ballo in Maschera in their new theatre at West Horsley.

Recent and future engagements include the title role Vanessa for Wexford Festival Opera, Foreign Princess Rusalka for English National Opera, Mother L’Enfant Prodigue and Fidalma Edgar for Scottish Opera, the title role in La Gioconda for Malmö Opera, and Sieglinde Die Walküre for Grange Park Opera.

The artist began her studies at the Guildhall School of Music and Drama and joined the ensemble at the National Opera Studio where she was sponsored by English National Opera. She went on to build her career singing the title roles in ENO’s new productions of Lucrezia Borgia, Tosca and Aïda, as well as appearing on the ENO stage as Donna Anna Don Giovanni, Amelia, Elvira Ernani, Gilda Rigoletto and Violetta La Traviata.

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Vanessa, Wexford Festival Opera

October 2016

Claire Rutter as the eponymous heroine displayed a fiery spinto that was capable of keeping its power and tone quality throughout the evening. Her passionate declaration to whom she believes is her returned lover in Act I made a deep impression culminating in the powerfully dramatic moment “Do you still love me?” As Vanessa’s flits between flirtatious happiness with Anatol and her wondering what is up with her niece, Rutter alternated between the two states with great aplomb.

Bachtrack, Andrew Larkin, 28 October 2016

Claire Rutter’s deluded heroine is delivered with forthright tone

The Guardian, George Hall, 28 October 2016

Norma, Grange Park Opera

June 2009

At Grange Park, the technical demands of Bellini's Norma hold no terrors for the extraordinary Claire Rutter, who embraces the meditative hymn of "Casta diva", the coloratura fireworks of the confrontation with Pollione and the Gluckian sublime of her final self-sacrifice with an ease, command and tonal splendour which I haven't heard equalled for a generation.

The Telegraph, Rupert Christiansen, June 2009

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