Peter Auty

Tenor

"The singers are superb, particularly Peter Auty’s Des Grieux […] Passionately intense, Auty is terrific in one of the most exacting roles in the entire tenor repertory."

Tim Ashley, The Guardian

"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

"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 a guest artist in the roles of Malcolm Macbeth and Arturo Lucia di Lammermoor.

In the 2021-22 season he sings Pinkerton Madama Butterfly and Laca Klemeň Jenufa for Welsh National Opera, Paul Die tote Stadt for Longborough Festival Opera, Roberto Le Villi at Opera Holland Park, Canio Pagliacci with Opera Ensemble at Iford Arts, and Riccardo in Verdi’s Oberto with Chelsea Opera Group.

Recent highlights include Des Grieux Manon Lescaut (The Grange Festival); Don José Carmen (Welsh National Opera); Johnson The Girl of the Golden West (RTÉ National Symphony Orchestra); the title role in Puccini’s Edgar (Scottish Opera and at Konzerthaus Berlin); and critically acclaimed performances of Canio Pagliacci with Opera Ensemble in London and at The Grange Festival and Longborough Festival Opera.

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

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

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

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

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