Peter Auty


"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. Following his professional debut at Opera North, Peter went on to become a company principal at the Royal Opera House, where he has since returned as guest singing the roles of Malcolm Macbeth and Arturo Lucia di Lammermoor.

Elsewhere in the UK Peter Auty has sung Cavaradossi Tosca for Grange Park Opera, Des Grieux Manon Lescaut, Count Vaudémont Iolanta, Alvaro La Forza del Destino, Radames Aida, Turiddu Cavalleria Rusticana, Canio 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.

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, the Royal Flemish Philharmonic under Edo de Waart, and the Orquestra Sinfônica do Estado de São Paulo.

Recent highlights include a return to Welsh National Opera as Don José, Johnson for the RTÉ National Symphony Orchestra, and the title role in Puccini’s Edgar for Scottish Opera and at Konzerthaus Berlin.

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

Pagliacci (Canio)

Opera Ensemble UK (October & December 2020)

As Pagliacco in the play-within-a-play, eaten up with jealousy, Auty gave a performance of startling intensity. He is the most Italian-sounding of the present crop of British tenors, delivering his famous solo “Vesti la giubba” (“On with the motley”, as it used to be Englished) with gut-churning emotional fervour.

Hugh Canning, The Times

Robert Hayward’s cavernous, effortless Tonio [is] matched by Peter Auty’s Canio – his Vesti la Giubba blending anger with hurt in a blazing vocal and emotional display.

Edward Bhesania, The Stage

Peter Auty is an experienced and formidable Canio, and he switched with ease between menace, anguish and passion, the hinterland of darkness gathering through his impressive “Vesti la giubba”.

Opera Magazine, December 2020

Peter Auty's performance as Canio is one that I have been lucky enough to have caught before, and time has only intensified his performance. Beautifully sung yet deeply moving, he gave a superb account of the show-piece aria, 'Vesti la giubba' but this was enveloped in a finely thought through performance rather than standing out as a demonstration aria.

Robert Hugill, Planet Hugill, 13 December 2020

It was Peter Auty’s richly characterised Canio who held the ear and eye for his smouldering portrayal of psychological collapse, embracing a sermonising ‘Un tal gioco’ and an embittered ‘No, Pagliaccio non son’. But it was his passionate ‘Vesti la giubba’, blending hurt and rage, and fearlessly letting rip in an alpha plus rendition, that held me in a vice-like grip.

David Truslove, Opera Today, 15 December 2020

Carmen (Don Jose)

Welsh National Opera (February 2020)

Don José [was] sung with impressive ease by the lyric tenor Peter Auty. His was a portrayal of gathering intensity, delivering an impassioned ‘Flower Song’, and by Act Four his implicit doom was a mixture of rage and hopelessness.

David Truslove, OperaToday

Don José, played by Peter Auty, with great realism and with a wonderful, all embracing tenor voice, another one of the joys of this thrilling production.

Michael Kelligan, Theatre in Wales

Auty’s performance, both in his duets with Mintzer and with Pritchard, is outstandingly good.

Barbara Michaels, Get the Chance Wales

Peter Auty has a thrilling tenor voice and shines in the scenes with Micaela.

Owen Davies, Plays to See

Jose [is] performed here beautifully by Peter Auty.

Simon Harding, Chew Valley Gazette

Howard Blake: Benedictus

St Alban’s International Organ Festival (July 2019)

The highlight here was a tenor solo, sung with passion by Peter Auty. He brought the whole work majestically to life.

Roderic Dunnett, Church Times

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

Of the principal singers, Peter Auty sang with power and a fine Italianate tone...

Mark Valencia, Opera Magazine

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

David Gutman, Classical Source

Peter Auty as her lover sang a strong Italianate tenor.

Mark Ronan, The Article

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****

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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