Media

Concert

ADAMS

The Gospel According To The Other Mary Lazarus

BACH

St Matthew Passion
St John Passion
Christmas Oratorio
Mass In B Minor

BEETHOVEN

Symphony No. 9

BERLIOZ 

La Damnation de Faust
Romeo Et Juliette
Grand Messe De Morts
Requiem

BRITTEN

Serenade For Tenor, Horn & Strings
St Nicholas

Les Illumination
War Requiem
Songs Of The High Hills

ELGAR

Dream Of Gerontius

FINZI

Intimations Of Immortality

GOUNOD

Messe Solennelle

HANDEL

Messiah

HAYDN

Nelson Mass
Creation

JANÁCEK 

Diary Of One Who Disappeared

MAHLER

8th Symphony

MENDELSSOHN

Elijah

MOZART

Requiem
Mass in C Minor

PUCCINI

Messa di Gloria

RACHMANIOV 

The Bells

SCHOENBERG 

Gurrelieder (Waldemar)

TIPPETT 

Child Of Our Time

VERDI

Requiem

WEILL 

Fall Of The City Of Mahagonny

Opera

ANDERSON 

The Thebans (Creon)

BENJAMIN

Lessons In Love And Violence (Mortimer)

BERG 

Wozzeck (Hauptmann)

Lulu (Alwa)

BERLIOZ 

Damnation de Faust (Faust)

BOITO 

Mefistofele (Nereo, Wagner)

BRITTEN 

Albert Herring (Mr Upfold)
Rape Of Lucretia (Male Chorus)
Gloriana (Master Of Ceremonies)
Billy Budd (Vere)
Peter Grimes (Bob Boles)

DALLAPICCOLA

Il Prigoniero (Gaoler/Inquisitor)

DONIZETTI

Belisario (Eutropio)
Lucia Di Lammermoor (Normanno)

GIORDANO

Andrea Chenier (Abbé)

HUMPERDINCK

Hänsel Und Gretel (Witch)

JANÁCEK

Kat’a Kabanovâ (Tikhon)

Makropulos Case (Gregor/Vitek)
Cunning Little Vixen (Schoolmaster)
Jenufa (Laca)
House Of The Dead (Shapkin)

LIGETI

Le Grand Macabre (Piet The Pot)

MARTINU 

Julietta (Michel)

MONTEVERDI 

L’incoronazione Di Poppea (Arnalta)

MOZART 

Idomeneo (Idomeneo, Arbace)

La clemenza di Tito (Tito)
Le nozze di Figaro (Curzio, Basilio)
Die Zauberflöte (Monastatos)
Die Entführung (Pedrillo)

MUSSORGSKY 

Boris Godunov (Shuisky, Simpleton)
Khovanshchina (Golitsyn)

NONO

Al gran sole carico d’amore (Thiers)

PROKOFIEV 

Betrothal In A Monastery (Brother Elusaf)

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PUCCINI 

Madama Butterfly (Goro)
Manon Lescaut (Il Maestro Di Ballo)
Turandot (Pong, Pang)

RASKATOV 

A Dog’s Heart (Sharikov)

RIMSKY-KORSAKOV

The Tsar’s Bride (Bomelius)

SCHREKER

Die Gezeichneten (Alviano)

SHOSTAKOVICH

Lady Macbeth of Mtsensk (Zinovy)

STRAUSS

Ariadne auf Naxos (Bacchus)

Salome (Herod)
Der Rosenkavalier (Valzacchi)

Elektra (Aegisthus)

STRAVINSKY 

The Rake’s Progress (Sellem)

TCHAIKOVSKY

Eugene Onegin (Monsieur Triquet)
Pique Dame (Hermann/Tchekalinsky)

Iolanta (Vaudemont)

TURNAGE

Anna Nicole (Larry King)

VERDI 

La Traviata (Gastone)
Falstaff (Bardolfo/Caius)

WAGNER

Tristan und Isolde (Der Hirt)
Der Fliegende Holländer (Steuermann)
Tannhäuser (Heinrich Der Schreiber)

WEILL

Aufstieg und Fall der Stadt Mahagonny (Fatty)

ZIMMERMANN 

Die Soldaten (Desportes)

Selected Discography

Press

Benjamin LESSONS IN LOVE & VIOLENCE / gran teatre del liceu, barcelona

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"Fabuloso el intrigante Mortimer de Peter Hoare"
"Peter Hoare's intriguing Mortimer was fabulous"
Javier del Olivo, Platea Magazine, 27 February 2021

"El barón Mortimer, quien da vida el tenor Peter Hoare cumple con mérito su papel de conspirador equilibrando la tríada del poder que, conjuntamente con la reina Isabel, interpretada por la soprano Georgia Jarman, acaban dibujando el otro lado de la moneda de la jerarquía."

"Baron Mortimer, who plays tenor Peter Hoare, fulfils his role as a conspirator with merit, balancing the triad of power that, together with Queen Elizabeth, played by soprano Georgia Jarman, end up drawing the other side of the hierarchy currency."

Maria Sánchez, Bachtrack, 28 February 2021

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"Y en papel del traidor asesino del rey y luego esposo de la reina –y aquí y en el momento de la primera escena en que se habla de aprestar una representación, pura ficción, claro, de ese adulterio y magnicidio, es difícil sustraerse a la evocación de Hamlet, “tradición”, no “plagio”- el tenor Peter Hoare, en parlandos siniestros que hacían perfecta justicia del ora vulgar, ora refinado lenguaje de Crimp, o en canto a veces sibilino, a veces violento, compuso perfectamente el cruel personaje."

"And in the role of the traitorous murderer of the king and then the queen's husband - and here and at the moment of the first scene in which there is talk of preparing a representation, pure fiction, of course, of that adultery and assassination, it is difficult to escape the evocation of Hamlet, "tradition", not "plagiarism" - the tenor Peter Hoare, in sinister talk that did perfect justice to the now vulgar, now refined language of Crimp, or in sometimes sibylline, sometimes violent song, perfectly composed the cruel character."
José Luis Vidal, Scherzo, 1 March 2021
 

britten NOCTURNE / royal liverpool philharmonic orchestra

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“The centrepiece was a superb performance of Benjamin Britten’s Nocturne. ... One could only marvel at Britten’s word-setting, and at Peter Hoare’s beautiful rendition. His enunciation of the verse was exemplary. I felt as if such lines as “It was a climate where, they say,/ The night is more beloved than day” could not be expressed in any other way. I was pleased that that song (words by Coleridge) was more magical and less sinister than in some performances. A “lovely boy” picking fruit in the moonlight wearing nothing but a “twine of leaves” can seem very creepy indeed. Here the harp helped create a sparkling moonlight scene. 
Nocturne is not all serious, however. The noises of the night in Midnight’s Bell, a setting of Middleton, had me smiling broadly under my mask, especially the horn’s evocation of bird and animal sounds and Peter Hoare’s mimicking of the cat mewing. Another highlight was Hoare’s negotiating of Keats’ Sleep and Poetry with elaborate, cheerful contributions from flute and clarinet. .”
Peter Connors, Bachtrack, 17th December 2020

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Berg WOZZECK / Greek National Opera

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“Peter Hoare is delightfully hysterical.”
James Imam, Financial Times, 20th January 2020
 

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Birtwistle THE MASK OF ORPHEUS / English National Opera

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“In the insanely demanding title-role, a brave and accomplished performance by a scantily clad Peter Hoare deserves prizes.”
Rupert Christiansen, The Telegraph, 19th October 2019

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“Huge respect to the heroic performers, especially Peter Hoare as Orpheus.”
Richard Morrison, The Times, 21st October 2019

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“Peter Hoare’s formidable account, often half-naked or draped in a short red robe and looking uncannily like Eddie Izzard or a grizzled Gary Glitter, deserves an Oscar.”
Fiona Maddocks, The Guardian, 26th October 2019

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“Peter Hoare is brilliant, as always, as Orpheus the Man.”
Richard Fairman, Financial Times, 21st October 2019
 

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Britten BILLY BUDD / Den Norske Opera, Oslo

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“The main roles were consistently well performed, but Peter Hoare probably played the most important in the role of the old Captain Vere at the old folks home, especially at the end of the performance. He shaped the melodies so beautifully, that it could just as well have been high-romantic music, and I stopped reading the text because the diction was so clear.”
Magnus Andersson, Klassekampen Musikkmagasinet, 4th February 2019
 

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Benjamin LESSONS IN LOVE & VIOLENCE / Royal Opera House, Covent Garden

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“Even as a military adviser, Mortimer (the bright-voiced tenor Peter Hoare), argues that love — any love — is “poison” to both the human body and the body politic.”
Anthony Tommasini, The New York Times, 11th May 2018

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“Peter Hoare (is) utterly compelling as Mortimer.”
Warwick Thompson, Metro, 11th May 2018

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“Peter Hoare’s Mortimer – wild-eyed but horribly sane in his actions, spinning even the most grotesque logic into plausible, lovely phrases.”
Alexandra Coghlan, The Arts Desk, 11th May 2018
 

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Janáček JENŮFA / Grange Park Opera at West Horsley Place

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“I don’t think I’ve ever seen Jenůfa’s hapless suitors Laca and Steva as strongly or sharply defined as they are by Peter Hoare and Nicky Spence. Hoare’s Laca movingly portrays low self-esteem suddenly finding inner strength, […] Both these excellent tenors sing at the top of their game.”
Rupert Christiansen, The Telegraph, 21 June 2017

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“Peter Hoare (Laca) makes this fiendishly high role sound easy, his bright timbre well suited. Hoare is pent with energy, liable to explode at any moment in this volcanic portrayal.”
Louise Lewis, British Theatre Guide 14, June 2017

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Ligeti LE GRAND MACABRE / London Symphony Orchestra
 

“A uniformly strong cast included especially fine contributions from Peter Hoare as the inebriated Piet the Pot”
Barry Millington, Evening Standard Jan 2017
 

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Janáček JENŮFA / English National Opera

“Peter Hoare is the intense Laca, his voice dark and strong, the man’s bitterness, desire and remorse beautifully realised.”
Tim Ashley, The Guardian, June 2016

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“The real strength of the cast, though, is in its pair of tenors, Peter Hoare giving another of his gripping character portrayals as Laca…”
Richard Fairman, Financial Times, June 2016
 

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Julian Anderson THEBANS / English National Opera

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Peter Hoare was outstanding as the despotic Creon, doomed by his own inflexibility. Hoare commands the whole of proceedings both with gesture and stage movement with a strong, flexible tenor voice”
David Karlin, Bachtrack, May 2014
 

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Berg WOZZECK / Metropolitan Opera

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“Peter Hoare has long been an outstanding Captain, not unknown to New York audiences after Esa-Pekka Salonen’s devastating performance with the Philharmonia at Lincoln Center eighteen months ago. Snivelling, abrasive, fundamentally decrepit and yet earnestly devoted to a bankrupt moral order, Hoare’s … tenor suits this role superbly, and his contortions onstage thoroughly enacted the Captain’s inherent hypocrisy.”
David Allen, Bachtrack, March 2014

Photos