Jonathan Stoughton

Praised for his "beautiful, free, bronzed tone" and "arresting voice of real power", heroic tenor Jonathan Stoughton trained at the Benjamin Britten International Opera School at the Royal College of Music and the National Opera Studio. His studies were further supported by the Wagner Society and by the Mastersingers as the recipient of a Goodall Scholarship. Jonathan is the 2017 winner of the Carole Rees Award for Advanced Musical Studies in Wagnerian Repertoire.

Shortly after completing his studies, Jonathan Stoughton made his Glyndebourne on Tour début in the role of Steva Jenufa and has since been engaged by companies including English National Opera, Opera North, Welsh National Opera, Scottish Opera, Longborough Festival Opera, West Green House Opera, Dorset Opera, Badisches Staatstheater Karlsruhe, Alden Biesen Zomeropera and Theater Orchester Biel Solothurn. Rôles have included Florestan Fidelio, Siegfried Götterdämmerung, Walther von Stolzing Die Meistersinger von Nürnberg, The Prince Rusalka, Don José Carmen, Gustavo Un Ballo in Maschera, Radames Aida,  Alwa (Jimmy) American Lulu and Bacchus Ariadne auf Naxos.

Jonathan Stoughton’s recent concert performances include Mahler Symphony No. 8 with the Bournemouth Symphony Chorus, Das Lied von der Erde with Bath Philharmonia, Beethoven's Ninth Symphony at the Sheldonian Theatre and Elgar's Dream of Gerontius at the Shaldon Festival.  In opera galas, recent performances have taken him to the Royal Albert Hall, Barbican Centre, Bridgewater Hall, Birmingham Symphony Hall, Cadogan Hall and the National Opera House, Wexford

Recent and future highlights include a critically acclaimed rôle début as Siegfried Siegfried for Saffron Opera Group, Turiddu Cavalleria rusticana for Opera North, Siegfried Götterdämmerung for Saffron Opera Group and a return to Longborough Festival Opera for his début as Erik Der fliegende Holländer and further performances as Bacchus Aridane auf Naxos. In Autumn 2018, Jonathan will be the official cover for Siegfried Siegfried and Siegfried Götterdämmerung at the Royal Opera House, Covent Garden.

                                                                                                                    August 2017

Siegfried / Siegfried / Saffron Walden – February 2017

“…His [Peter Bronder’s] well-defined, astringent tone contrasted well with Jonathan Stoughton’s honeyed tenor for Siegfried.  Stoughton’s stamina was unfailing; there wasn’t a hint of barking, his top notes were heroic and easily within reach and he managed Act 3’s transition from callow youth to love-struck young man through a canny darkening of his voice. It was a strong and strongly-imagined performance, which surfed the orchestra with ease…”       

                                                    Opera Magazine, April 2017 - Peter Reed

“…Jonathan Stoughton was the ardent, fresh-toned and promisingly tireless Siegfried…”

                                                                      The Guardian - Andrew Clements

"…Jonathan Stoughton’s Siegfried was likewise terrific. He has the right tireless stamina. Having poured out his voice all evening and brought character to music of anger, expressiveness, excitement, reverie, anguish, golden enthusiasm, he was still fully equal to Brünnhilde when she wakes up fresh as a daisy, just for the end…”  

                                                            Wagner News - Paul Dawson-Bowling

“...simply oafish Siegfrieds are too often an easy option for directors; by contrast, Jonathan Stoughton’s sensitive, compassionate and humble Siegfried was winning in every sense, and remarkably easy to love. The sweetness at the top of Stoughton’s tenor implied boyish innocence, with his whole range well supported in terms of vocal strength, clarity and accuracy to survive this supremely demanding role. From his infectiously happy entrance, Stoughton promised well, and musically never failed to please...

                                                                              Operissima - Charlotte Valori


 Lechmere / Owen Wingrave – Theater Orchester Biel Solothurn December 2015/January 2016

“....On y distinguée le brilliant Lechmere du tenor britannique Jonathan Stoughton...”

                                                               François Lehel OPÉRA January 2016


Bacchus / Ariadne auf Naxos West Green House Opera August 2015

“. . .Could such a small festival as West Green House find itself a decent heldentenor?

Yes! Up-and-coming Jonathan Stoughton demonstrated enormous promise in the role, showing off a warm Italianate sound and enormous reserves of power. ...his style and stamina gave very bright hopes for his future. . .”

                                                              Warwick Thompson Classical Source

The Prince / Rusalka / TOBS - Theater Orchester Biel Solothurn – November 2014

“. . .einen tollen tenor'

“. . .a fantastic tenor"

 Berner Kultur Agenda November 2014

“. . . Jonathan Stoughton als Prinz fasziniert mit einem metallisch timbrierten Heldentenor. . .”

“. . . Jonathan Stoughton as the Prince enthralled with a metallically timbred Heldentenor. . .”

Langenthaler Tagblatt December 2014

“…Einmal mehr gibt es in Biel einen Tenor der Sonderklasse zu entdecken. Jonathan Stoughton bewältigt die exponierte Partie des Prinzen mit strahlender Stentorstimme und echte Empfindung. . .”   

“…In Biel, there is a tenor of special quality to discover: Jonathan Stoughton mastered the exposed role of the Prince with radiant stentorian voice and genuine feeling. . .”

Bieler Tagblatt

 Florestan / Fidelio / Dorset Opera 2014

“ . . .he sang with great dramatic strength and assurance . . . “

Rian Evans – Opera

Prize Winner in December2013 Wagner Competition

 " . . .  Jonathan Stoughton launched into Siegfried's “Nothung!” with superb confidence, and his ringing, bronze tones filled the hall. One could feel the audience's excitement levels rising by the moment, it was simply thrilling.Walther's “Morgenlich leuchtend”, a song written for a singing contest, brought the competition to a rousing conclusion. There is nothing like a fully fledged heldentenor for arousing audience enthusiasm. . ."

Wagner News Review

 Adolar – Euryanthe (Weber) / Chelsea Opera Group – Cadogan Hall – November 2013

 “ …Jonathan Stoughton revealed an often pleasing tenor as Adolar, drawing upon lyric and heroic reserves as required. This is clearly a voice which, if sensibly marshalled, will be in great demand for heroic roles …”

                                                                                                                                                Opera Today – Mark Berry

Siegfried / Götterdämmerung / Longborough Festival Opera / Summer 2013

“ . . . in a revelatory performance…he sang with terrific verve and looked every inch the naive, barrel-chested hero. . .”

                                                                       Richard Morrison -The Times

“ . . . In Götterdämmerung Jonathan Stoughton seems entirely secure in the part: no blond Aryan, this Siegfried, but a dark, smiley, randy Hollywood star.. The voice is bright and strong. . .”

                                                                       Stephen Walsh – The Arts Desk

“... he has a faultless upper range, and could reproduce the Woodbird's motif without straining or pushing his voice.". .    

                                     Paul Levy - Arts Journal (Wall Street Journal)

“…Stoughton’s interpretation and singing of the role … were altogether more confident and heroic...”

Michael Kennedy – Opera

" was a further joy to observe Stoughton’s fine interpretation of the older Siegfried  (Gotterdammerung, 12th July) as innocent, naive, brutal and fearless, and to savour his warm tenor and mastery of the upper range, clearly enjoying and totally immersed in his role. . ."

Hilary Reid Evans - Wagner News

Jimmy - American Lulu (Olga Neuwirth) – Bregenz & Edinburgh International Festival 2013

 " . . .Sehr hilfreich hingegen ist das Talent einiger Sänger, etwa Robert Winslade Anderson oder Jonathan Stoughton. . ."

“ . . . very helpful, however, is the talent of certain singers, in particular Jonathan Stoughton . . . “

" ... Mit kraftvollen Stimmen beeindruckten Donald Maxwell als Lulus sexuell höriger Liebhaber Dr. Bloom (Dr. Schön) und Jonathan Stoughton als blindverliebter Jimmy (Dr. Schöns Sohn Alwa . . .”)

“ . . .With powerful voices Donald Maxwell as Lulu's sexually deficient lover Dr. Bloom and Jonathan Stoughton as the blindly amorous Jimmy (Dr. Schön's son Alwa) impressed . . “

Anna Mika - Kleine Zeitung

" . . . while such glorious moments as the post-prison scene between Jimmy (Jonathan Stoughton) and Lulu lift this production . . .”

Ken Walton - The Scotsman

Siegfried / Götterdämmerung / The Wagner Society, London

“ . . .then there was an unexpected pleasure in the Siegfried, Jonathan Stoughton. . . This is an arresting heldentenor voice of real heft, well able to take on Wagner’s Götterdämmerung orchestra, but it is also a beautiful voice, falling gratefully on the ear, lyrical in its tonal colourings, and deployed with an elegant musicality which already revealed so much more to his Siegfried than strength and brawn . . .”

Paul Dawson-Bowling / Wagner News

 Vitellozzo / Lucretia Borgia / English National Opera

“ . . . In the smaller roles, ENO's casting was uniformly excellent, with Jonathan Stoughton's sparkling tenor particularly standing out in his role as Vitellozzo . . .”

“ . . . I particularly liked the easy tenor of Jonathan Stoughton, singing Vitellozzo, one of the Republican nobles . . .”

Jonathan Stoughton

Don José / Carmen / Belgium 2015

Jonathan Stoughton