Claire Rutter


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Claire Rutter is well known for the “rich dramatic flair” [The Dallas Examiner] of her performances of the major Italian and Germanic dramatic roles. She has appeared internationally in houses including Opera Australia, Florida Grand Opera, Santa Fe Opera, Minnesota Opera, Opéra National de Bordeaux, Opéra National de Montpellier, Opéra National du Rhin, Theater Basel, Flemish National Opera, Finnish National Opera and Den Norske Opera.

Recent highlights include the role of Amelia Un Ballo in Maschera and Sieglinde Die Walküre for Grange Park Opera, Tosca for Icelandic Opera and Welsh National Opera, Leonora La Forza del Destino (also for Welsh National Opera), the title role in Vanessa for Wexford Festival Opera, Abigaille Nabucco for Dorset Opera, Fidelia Edgar and Mother L’Enfant Prodigue for Scottish Opera, the title role in La Gioconda for Malmö Opera.

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Selected Reviews

The dramatic soprano Claire Rutter, fully deserving of her status as Britain's prima Tosca assoluta, was on imperious form, her voice steady and powerful not just in the big shrieks but across the range. Rutter's assumption of the role this time was even more accomplished than her English-language account at ENO. She sang her star aria 'Vissi d'arte' very directly, immersing herself in its message ('I lived for art and never hurt a soul') and eschewing any temptation to prettify it.

Mark Valencia, WhatsOnStage, Welsh National Opera (Tosca)

The cast was strong, with Claire Rutter fully in command of Verdi’s notes as the anguished Amelia

George Hall, Financial Times, Grange Park Opera (Un Ballo in Maschera)

In the title role, Claire Rutter gives a glorious display of bel canto, with elegant legato, supple crescendo and diminuendo, crisply articulated runs, stunning high notes...

The Daily Telegraph, English National Opera (Lucrezia Borgia)

Nabucco (Abigaille)

July 2019

The challenging role of Abigaille was sung with sterling top notes, dignity and vigour by Claire Rutter.

The Guardian, Fiona Maddocks, 3 August 2019

Claire Rutter hurls herself at the manifold vocal difficulties accorded his adopted daughter Abigaille both fearlessly and with success.

The Stage, George Hall, 25 July 2019

The role of Abigaille, Nabucco’s adopted daughter, is never easy to cast and I cannot think of a British singer who would be able to do justice to the role other than Claire Rutter. Indeed, it was she who turned up in Dorset. The role is written for that very rare operatic beast: the dramatic coloratura soprano. Rutter has proved on more than one occasion that she is certainly up to the task and in the performance I saw, she even added a high E-flat alternativo at one point.

Daily Express, Martina Bet, 21 August 2019

As his supposed daughter Abigaille, Claire Rutter conveyed her character's burning anger in confident, technically impressive vocalism from the top to the bottom of the range including flouncing expertly through swathes of coloratura

Opera Magazine, George Hall​, October 2019

…the fearless Claire Rutter delivered precisely the kind of grand-scale, technically adroit vocalism required.’

Opera Now, George Hall, September 2019

Edgar, Scottish Opera

October 2018

Claire Rutter excelled in the soprano part, treating it to all the purity and soulfulnesses it deserves.

Opera, Andrew Clark, January 2019

Un Ballo in Maschera, Grange Park Opera

June 2018

Claire Rutter, last year’s accomplished Sieglinde, is a vibrant and dramatic Amelia.

The Stage, David Gutman, 14 June 2018

His wife and victim Amelia is in the safe hands of Claire Rutter, a fine spinto singer who's often the grande dame but here projects emotional vulnerability with ravishing beauty and superb control.

WhatsOnStage, Mark Valencia, 11 June 2018

The cast was strong, with Claire Rutter fully in command of Verdi’s notes as the anguished Amelia

Financial Times, George Hall, 11 June 2018

Claire Rutter’s Amelia, though, was superb, with attractive steeliness to her voice that is the hallmark of the true dramatic Verdian soprano.

Bachtrack, Matthew Rye, 11 June 2018

Claire Rutter’s Amelia in particular, would be worth struggling through miles of Surrey Hills hedgerows and thickets to hear.

TheArtsDesk, Boyd Tonkin, 11 June 2018

Claire Rutter was in gloriously lustrous voice, rising to the top with both ease and beauty, in Act 2’s ‘Ma dall’arido stelo divulsa’ as she foraged for the curative herbs, and in ‘Morro, ma prima in grazia’, when she pleaded for one last chance to hold her son. Rutter persuasively responded to dramatic situation, altering her tone, which was both pure and powerful.

Opera Today, June 2018

Welsh National Opera, Tosca

February 2018

Claire Rutter ... sang tonight's title role with conviction, beauty and convincingly passionate drama. The innocent victim of Act 1 elsewhere found more fiery reserve as the tortured opera singer, her voice warmly coloured throughout her range, and her second act “Vissi d'arte” was enormously moving.

Bachtrack, Rohan Shotton, 11 February 2018

Rutter on this occasion, never shirking her high notes or committed acting, creating as good a sung and acted performance as one is likely to see on the international stage!...Rutter’s acting and singing of ‘Vissi d’arte’ was also outstanding as she thwarted Scarpia and then stabbed him to death.

Seen and Heard International, Robert J Farr, 24 April 2018

The dramatic soprano Claire Rutter, fully deserving of her status as Britain’s prima Tosca assoluta, was on imperious form., Mark Valencia, 12 February 2018

Claire Rutter's Opera Repertoire


Vanessa (title)


Norma (title)

I Puritani (Elvira)


The Turn of the Screw (Miss Jessel and Governess)

Gloriana (Queen Elizabeth I)

Peter Grimes (Ellen Orford)


Lucrezia Borgia (title)


Andrea Chénier (Maddalena)


Don Giovanni (Donna Anna, Donna Elvira)

Così fan tutte (Fiordiligi)

Idomeneo (Elettra)

Le Nozze di Figaro (Countess Almaviva)


La Gioconda (title)


Edgar (Fidelia)

Tosca (title)

La fanciulla del West (Minnie)

Madama Butterfly (title)

Turandot (title)

Manon Lescaut (title)

La Boheme (Mimi/Musetta)

La Rondine (Magda)

Il Tabarro (Giorgetta)


Die Fledermaus (Rosalinde)


Die Frau ohne Schatten (Die Kaiserin)

Elektra (title)

Salome (title)


Un ballo in maschera (Amelia)

La forza del destino (Leonora)

Il Trovatore (Lenora)

Aida (title)

Ernani (Elvira)

La Traviata (Violetta)

Nabucco (Abigaille)

Falstaff (Alice Ford)


Die Walküre/Götterdämmerung (Sieglinde, Brünnhilde)

Tristan und Isolde (title)

Die Meistersinger von Nürnberg (Eva)

Lohengrin (Elsa)

Tannhäuser (Elisabeth)

Claire Rutter's Concert Repertoire


German Requiem


Symphony no. 9 ‘Choral’

Die glorreiche Augenblick

Mass in C Major

Missa solemnis

Ah, Perfido


War Requiem


A Mass of Life


The Kingdom

The Apostles

The Spirit of England


The Mystic Trumpeter


Symphony no.1, 2, 4, 8


Stabat Mater



Messa di Gloria


Stabat Mater

Messa di Gloria

Petite messe solennelle






Vier Letzte Lieder

Orchestral songs



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