Claire Rutter

Soprano

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The renowned British soprano Claire Rutter 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.

Engagements that could sadly not take place in 2020 include her return to ENO for the role of Foreign Princess Rusalka in a new production which also planned to tour to Théâtre de la Ville de Luxembourg, a return to Icelandic Opera to sing the role of Sieglinde Die Walküre, and a performance of Verdi‘s Requiem with Mark Elder and the Hallé Orchestra.

Recent highlights include Tosca at Icelandic Opera and at Welsh National Opera, she appeared as Leonora La Forza del Destino. At Grange Park Opera she took on the role of Amelia Un Ballo in Maschera in their new theatre at West Horsley, and also Sieglinde (which she has performed in concert with The Mahler Players as well). Other recent engagements include the title role in Vanessa for Wexford Festival Opera, Mother L’Enfant Prodigue for Scottish Opera, the title role in La Gioconda for Malmö Opera. The artist appeared as Fidelia Edgar with Scottish Opera. She ended the 18/19 season at Dorset Opera in the role of Abigaille Nabucco.

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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.

Whatsonstage.com, Mark Valencia, 12 February 2018

Claire Rutter's Opera Repertoire

BARBER

Vanessa (title)

BELLINI

Norma (title)


I Puritani (Elvira)

BRITTEN

The Turn of the Screw (Miss Jessel and Governess)


Gloriana (Queen Elizabeth I)


Peter Grimes (Ellen Orford)

DONIZETTI

Lucrezia Borgia (title)

GIORDANO

Andrea Chénier (Maddalena)

MOZART

Don Giovanni (Donna Anna, Donna Elvira)


Così fan tutte (Fiordiligi)


Idomeneo (Elettra)


Le Nozze di Figaro (Countess Almaviva)

PONCHIELLI

La Gioconda (title)

PUCCINI

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)

STRAUSS, J

Die Fledermaus (Rosalinde)

STRAUSS, R

Die Frau ohne Schatten (Die Kaiserin)


Elektra (title)


Salome (title)

VERDI

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)

WAGNER

Die Walküre/Götterdämmerung (Sieglinde, Brünnhilde)


Tristan und Isolde (title)


Die Meistersinger von Nürnberg (Eva)


Lohengrin (Elsa)


Tannhäuser (Elisabeth)

Claire Rutter's Concert Repertoire

BRAHMS

German Requiem

BEETHOVEN

Symphony no. 9 ‘Choral’


Die glorreiche Augenblick

Mass in C Major

Missa solemnis

Ah, Perfido

BRITTEN

War Requiem

Delius

A Mass of Life

ELGAR

The Kingdom


The Apostles


The Spirit of England

HOLST

The Mystic Trumpeter

MAHLER

Symphony no.1, 2, 4, 8

POULENC

Stabat Mater


Gloria

PUCCINI

Messa di Gloria

ROSSINI

Stabat Mater


Messa di Gloria


Petite messe solennelle

RUTTER

Gloria


Requiem


Magnificat

STRAUSS

Vier Letzte Lieder


Orchestral songs

VERDI

Requiem

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