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The Latest Breaking News from Allan Clayton

The week in classical: Festen; Das Rheingold review – a dark, jubilant, five-star Turnage triumph

Daring, lyrical and brilliantly achieved, Mark-Anthony Turnage’s new opera is his best work yet. Plus, knockout Wagner on a shoestring

The Guardian - UK

The week in classical: Prom 37: Britten’s War Requiem; The Turn of the Screw – review

Britten’s explosive work is a rallying cry at the Proms, while a twilit production of his chamber opera feels properly ghostly

The Guardian - UK

War Requiem at the Royal Albert Hall review: sincere and theatrical in the hands of Antonio Pappano

This was one of those occasions to treasure that the Proms does so well

Evening Standard

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Colonials mess with Shakespeare and get a global hit

Making Shakespeare's longest play into a successful opera is no easy feat, but an adaptation by "a bunch of colonials" is premiering at the Sydney Opera House.

AAP

The week in classical: Jephtha; 7 Deaths of Maria Callas; Perfection, of a Kind: Britten vs Auden – review

Handel’s majestic final oratorio holds its own in Oliver Mears’s searching new production; Marina Abramović channels Maria Callas; and a well-told tale of when Britten met Auden

The Guardian - UK

Jephtha review – Clayton is magnificent as a wide-eyed zealot

Oliver Mears’s powerful but flawed staging of Handel’s biblical oratorio boasts very fine singing and performances, with Jennifer France’s Iphis and Allan Clayton’s Jephtha standouts

The Guardian - UK

Jephtha at the Royal Opera House review: highly recommended to all but zealots and puritans

This is a powerful indictment of religious fervour and the dangers that can stem from it

Evening Standard

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Allan Clayton: ‘I’m your tortured tenor for hire’

His committed performances and expressive voice have made him one of today’s most admired singers. As he prepares for Jephtha at Covent Garden, Allan Clayton ponders creativity, pigeonholes and facial hair

The Guardian - UK

New era for national opera with Jo Davies' first slate

An acclaimed production of Hamlet is the centrepiece of Opera Australia's first season under the new British artistic director Jo Davies.

AAP

Prom 50: Samson review – humour, chewy harmonies and Handel at his best

Allan Clayton’s rich tenor defied the tricksy acoustics of the great hall, while the Philharmonia Chorus were truly outstanding

The Guardian - UK

Classical music: Fiona Maddocks’s 10 best concerts and operas of 2022

Excellence and perilous funding went hand in hand, Salome sizzled, a piano great led the way, and India and Italy became musical neighbours

The Guardian - UK

A Winter’s Journey review – vivid colours, of voice and visuals, enrich Schubert’s song cycle

Barbican, LondonAnimating Winterreise with works by Australian painter Fred Williams created striking moments, but Allan Clayton’s voice brought power and drama enough of its own

The Guardian - UK

The week in classical: The Dream of Gerontius, Bach’s Mass in B minor and Nathan Laube at the Proms

Jamie Barton and Allan Clayton lead a dream Gerontius in a week of choral epics at the Proms. Elsewhere, deep listening and silence…

The Guardian - UK

Prom 59: The Dream of Gerontius review – outstanding Clayton helps create a season highlight

Edward Gardner conducted the London Philharmonic and the combined choirs of the LPO and Hallé to give a perfectly judged performance of Elgar’s great choral work

The Guardian - UK

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The Independent UK

Met's new 'Hamlet': To be or not to be true to the text

Rosencrantz and Guildenstern are dead, all right, but not as Shakespeare imagined

The Guardian - UK

The week in classical: Peter Grimes; Emerson Quartet; RPO/Petrenko

An all-star production of Britten’s opera thrilled; Soviet-era melancholy flowed through Shostakovich’s quartets; and the RPO rose to their game-changing new conductor

The Guardian - UK

Peter Grimes review – Compelling, unsettling and ravishingly sung

Deborah Warner’s detailed new production sets Britten’s opera in a decayed coastal town in post-Brexit Britain. Allan Clayton – on top form – leads an outstanding cast; conductor Mark Elder emphasises the score’s beauty and well as its violence

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