Peter Auty

Tenor

"Auty makes a terrific Radamès, sensitively characterised and heroically sung."

Tim Ashley, The Guardian

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Peter Auty is established as one of Britain’s leading tenors. He made his professional début at Opera North in 1998/9 and was a company principal of the Royal Opera, Covent Garden from 1999 until 2002 where he covered several major roles and had the opportunity of working with many of the world’s leading singers and conductors.

He has returned as guest to the Royal Opera singing the roles of Malcolm in Macbeth and Arturo in Lucia di Lammermoor.

Elsewhere in the UK Peter Auty has sung Cavaradossi/Tosca for Grange Park Opera, Count Vaudémont /Iolanta, Alvaro/La Forza del Destino, Radames/Aida, Turiddu and Canio/ Cavalleria Rusticana and I Pagliacci, Maurizio/Adriana Lecouvreur and Lensky/Eugene Onegin for Opera Holland Park, Macduff/Macbeth, Nemorino/ L’elisir d’amore for Glyndebourne Festival Opera, Don José/Carmen and Rodolfo/La Bohéme for Glyndebourne on Tour, Italian Tenor/Der Rosenkavalier, Duke/Rigoletto, Rodolfo/La Bohéme, Dick Johnson/The Girl of the Golden West, Pollione/Norma, Turiddu and Gabriele/Simon Boccanegra for English National Opera, Fritz Kobus/Amico Fritz, Alfredo/La Traviata, Don José, title role in Faust for Opera North, Rodolfo and Don José for Scottish Opera, and Canio and Turiddu for Welsh National Opera.

Abroad he has worked with several companies including Essen Opera, Frankfurt Opera, Nationale Reisopera, Malmo Opera and New Zealand Opera.

On the concert platform Peter Auty has worked with the London Symphony Orchestra (Sir Colin Davis), the Orchestra of the Age of Enlightenment (Sir Mark Elder), and the London Philharmonic Orchestra (Neeme Järvi, Vladimir Jurowsky). Appearances abroad have included concerts with the Iceland Symphony Orchestra conducted by Vladimir Ashkenazy, the Bergen Philharmonic Orchestra under Edward Gardner, and the Royal Flemish Philharmonic under Edo de Waart.

Peter Auty made his recital debut in London in the 2009 Rosenblatt Recital Series. During the 2011 BBC Proms season he performed the tenor solo in Havergal Brian’s Symphony No. 1 ‘The Gothic’ at the Royal Albert Hall in London with combined forces of over 1000 musicians now released on the Hyperion label.

Recent engagements include Earl of Orkney in the world premiere of Maxwell Davies’ The Hogboon with the LSO (Sir Simon Rattle), Stiffelio at Konzerthaus Berlin, Don José in Essen, Canio at Lisbon Opera and Opera North, Bill in Jonathan Dove’s Flight and Lensky for Scottish Opera, and Pushkin in the stage premiere of Konstantin Boyarsky new opera by the same name with Novaya Opera at Grange Park Opera.

This season he sings Edgar for Scottish Opera, Des Grieux/Manon Lescaut for the Orquestra Sinfônica do Estado de São Paulo and Opera Holland Park, and Dick Johnson for the RTÉ National Symphony.

This biography is for information only and should not be reproduced.

Manon Lescaut (Des Grieux)

Opera Holland Park (June 2019)

Elizabeth Llewellyn (Manon) has a gloriously rich and full tone, and Peter Auty (Des Grieux) matches her with a fiery upper register.

Warwick Thompson, Metro

Peter Auty’s plangent tenor is the nearest an English singer will get to Des Grieux’s impassioned effusions.

Hugh Canning, The Sunday Times

[Auty’s] Italianate tonal quality.

George Hall, Financial Times

Peter Auty’s Des Grieux was solidly sung.

Erica Jeal, The Guardian

[Auty] does well in a taxing tenor role.

Daniel J. Lewis, Daily Mail

Peter Auty’s tenorial tumescence makes Des Grieux suitably ardent.

Nick Kimberley, Evening Standard

Tenor Peter Auty was consistent and strong as Des Grieux.

Claire Seymour, Opera Today

Auty has the right Italianate sound …. His desperation in the later stages is vocally convincing.

David Nice, The Arts Desk

As the tenor ‘hero’, Peter Auty gives a creditable performance.

David Gutman, Classical Source

Peter Auty works up a fine head of steam as a full-throated Des Grieux.

Yehuda Shapiro, The Stage

Auty is good throughout in his vocal work, nicely balanced with the orchestra.

Gary Naylor, Broadway World****

Peter Auty as her lover sang a strong Italianate tenor.

Mark Ronan, The Article

As des Grieux, Peter Auty asserts a brilliantly powerful and expansive tenor.

Sam Smith, Music OMH

Auty was able to bring plenty of robustly phrased, Italianate tone, making Des Grieux a real pleasure to listen to.

Robert Hugill, Planet Hugill

Edgar (Edgar)

Berliner Operngruppe, Konzerthaus Berlin (February 2019)

British tenor Peter Auty ... sang his role with great passion and power. He sings the difficult role masterfully, superbly leading his voice, with fine phrasing and marked legato.

Patrik Klein, IOCO Kritik

Edgar (Edgar)

Scottish Opera (October 2018)

“The tension in Peter Auty’s voice has rarely sounded as apposite as in the higher reaches of Puccini’s youthful tenor writing, to which he brought red-blooded conviction.”

Andrew Clark, Opera Magazine

“Tenor Peter Auty was in superb voice in the title role.”

Keith Bruce, The Herald ****

“Auty is excellent as Edgar, portraying a man who, seen with twenty-first century eyes, might well have mental health problems, whereas the nineteenth century saw only melodrama.”

Catriona Graham, The Opera Critic

“Auty, who has been a regular at Scottish Opera over the last few years is a very fine young tenor and is in very good form this afternoon.”

Hugh Kerr, The Wee Review

Eugene Onegin (Lensky)

Scottish Opera (April 2018)

“Peter Auty makes a plangent Lensky, delivering his aria full throttle.”

Rupert Christiansen, The Telegraph ****

“Most impressive too was the Lensky of Peter Auty, he seemed to be on top of his form, and very much like when it was so famously played by the great Russian tenor Sergei Lemeshev. Lensky’s aria to Olga ‘I love you’ was marvellously well sung.”

Gregor Tassie, Seen and Heard International​

“Peter Auty gives a magnetic depth to the character of her fiance Lensky. From his bright and lively entrance in Act I to his hot-headed jealousy in Act II, Auty portrays Lensky’s ardent passions with vocal magnitude and a captivating stage presence. His brooding duet as he contemplates his and Onegin’s upcoming duel is rich and heartfelt, with beautifully bubbling obligati from clarinet and oboe.”

Miranda Heggie, ArtsDesk *****

“Peter Auty's jealous Lensky … delivered his heartfelt aria thrillingly before being shot in the duel.”

David Smythe, bachtrack ****

“Peter Auty is a touching Lensky, whose ardent honesty is an obvious mismatch with Sioned Gwen Davies’s wild Olga.”

Andrew Clements, The Guardian ****

Flight (Bill)

Scottish Opera (February 2018)

... class acts from the likes of Peter Auty as a jaded husband discovering his inner bisexual ...

Richard Morrison, The Times *****

Individually, the singing was very fine, Peter Auty and Stephanie Corley as Bill and Tina, playfully tied to a marriage manual but looking for something else, were both in great voice.

David Smythe, Bachtrack ****

Osud (Dr Suda)

Opera North (Oct 2017)

Peter Auty made a nicely smug rival of Dr Suda, good with the girls, pleased with his musical prowess …

Martin Dreyer, Opera Magazine

Pagliacci (Canio)

Opera North (Sep 2017)

With an all-round excellent cast, Peter Auty’s Canio stood out, dramatically frightening and with his superb voice on its best form. But Canio is given the most chances; the build-up from suspicion to conviction to crime passionnel is plotted by the composer-librettist with skill, the performer of the role just having to be careful that he doesn’t feel too much too soon. Jon Vickers set the standard here, but Auty can be ranked alongside him.

Michael Tanner, The Spectator

Auty gives a great performance, singing with subtlety yet formidably conveying Canio’s psychological disintegration.

Tim Ashley, The Guardian ****

Peter Auty plays Canio with focussed, obsessive intensity, his timbre equal to the demands of Leoncavallo’s fin-de-siècle lushness.

Robert Beale, The ArtsDesk

The leader of the Commedia dell'arte troupe, Canio (Peter Auty), first seen swanning in to a convincingly cluttered rehearsal space signing record sleeves, soon makes his violent paranoia apparent, a standard operatic ingredient, of course, which comes with well-known dangers for any director, in this case Charles Edwards. Psychotic episodes, especially those driven by alcohol, both real and enacted, can have a raw force that gets out of hand, which is what happens when he tears off his clown mask to tell his wife he is not acting, then stabs her and her lover to death. This ending is devastatingly effective, but well-controlled, like Canio’s aria "Vesti la giubba": Auty revealed himself as a fine spinto tenor, deeply moving yet balanced, with just a tiny hint of sobbing.

Richard Wilcocks, Bachtrack ****

[Auty's] robust tenor stirringly renders the breast-beating of Vesti la giubba.

Rupert Christiansen, The Telegraph ****

Le villi (Roberto)

Scottish Opera (May 2017)

Tenor Peter Auty played the wretched Roberto convincingly.

Ken Walton, The Scotsman ****

Auty’s Torna ai felici dì is a soaring cri de coeur.

Mary Brennan, The Herald *****

Canio (Pagliacci)

Teatro de Sao Carlos Lisboa (April 2017)

Ranking the performances is not easy but our vote probably goes to Peter Auty, a Canio of great interpretive force and a voice that even in the crucial moments, managed to reach the required tone without losing the drama of the character. 

Zita Ferreira Braga, Journal Hardmusica

Rossini Petite messe solenelle

BBC Singers @ BBC Proms (August 2016)

Tenor Peter Auty’s “Domine Deus” has clarity and vitality.

David Karlin, bachtrack

Peter Auty injected his contributions with robust, operatic delight.

Denise Prentice, Classical Source

The Hogboon

London Symphony Orchestra (June 2016)

... well supported by ... Peter Auty’s pensive Earl of Orkney.

George Hall, The Guardian ****

... a great cast – including ... Peter Auty – and monster enjoyment to be had by all.

Fiona Maddock, The Observer ****

... and there were deeply-felt solos too for Peter Auty’s anguished Earl.

Christopher Webber, Opera Magazine

Norma (Pollione)

English National Opera (Feb 2016)

The British tenor Peter Auty transmitted the necessary flaccidity of character for Pollione, with skilful use of his powerful voice.

Fiona Maddocks, The Guardian

Peter Auty is a tireless Pollione.

Andrew Clements, The Guardian

Auty sang Pollione nobly and strongly, providing a firmness of purpose in the great trio.

Robert Hugill, Opera Today

As the disreputable Pollione himself, Peter Auty was commanding of tone.

Matthew Rye, bachtrack ****

... with compelling performances from ... Peter Auty as Pollione...

Michael Church, The Independent ****

British tenor Peter Auty more than held his own as the Roman Pollione, the other member of the destructive love-triangle...

Graham Rogers, Opera News

Eugene Onegin (Lensky)

Malmö Opera (Nov 2015)

Peter Auty’s elegant tenor and solid stage presence created a memorable Lensky.

Lars-Erik Larsson, Skånska Dagbladet

Peter Auty, one of Britain’s foremost tenors, is an effortless Lensky.

Gunilla Brodrej, Expressen

Extraordinary – how Peter Auty paints the scene before the duel singing "Kuda, kuda" and his expressive acting during the birthday party I will remember especially …it bears repeating that I especially and particularly appreciated the English tenor Peter Auty, who portrayed the poet Lensky.

Mogens H Andersson, Operalogg

Peter Auty gives heartfelt expression to Lensky’s desperate heartache.

Bo Löfvendahl, Svenska Dagbladet

Aida (Radames)

Opera Holland Park (June 2015)

Auty makes a terrific Radamès, sensitively characterised and heroically sung.

Tim Ashley, The Guardian

Peter Auty is on top form as the Egyptian general Radames, singing with a genuinely heroic ring to his tone.

George Hall, The Stage

Peter Auty sang a fervent and confident Radames, producing some notably eloquent singing in his death throes.

Rupert Christiansen, The Telegraph ****

La fanciulla del West (Dick)

English National Opera (October 2014)

As Ramerrez, aka Dick Johnson, Peter Auty also excels himself. I’ve never seen him act with such energy, and his vibrant … tenor finds a grand sweep for Ch’ella mi creda, one of Puccini’s most seductive inspirations.

Rupert Christiansen, Telegraph

Tenor Peter Auty grew in confidence and conviction in his debut as Dick Johnson, with some thrilling top notes and an air of untrustworthy charm.

Fiona Maddocks, The Guardian

As Johnson, Auty summoned up a strong and melodic voice which beautifully captured Puccini’s phrasing and line. It was one of those tenor performances where I was constantly happy to listen to the voice...

David Karlin, bachtrack

Mahler Symphony No.8

Three Choirs Festival (July 2016)

Peter Auty’s Doctor Marianus was genuinely awesome, soaring over the orchestra in a powerful display of high romanticism.

Simon Cummings, bachtrack

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