Praised for his "beautiful, free, bronzed tone" and "arresting voice of real power", British tenor Jonathan Stoughton trained at the Benjamin Britten International Opera School at the Royal College of Music and the National Opera Studio.
Shortly after completing his studies, Jonathan Stoughton made his Glyndebourne on Tour début in the role of Steva Jenůfa and has since been engaged by English National Opera, Opera North, Welsh National Opera, and Badisches Staatstheater Karlsruhe.
Roles have included Tamino Die Zauberflöte, Pinkerton Madama Butterfly, Lensky Eugene Onegin, The Big Prisoner From the House of the Dead, Florestan Fidelio, Max Der Freischütz, Pollione Norma, Vitellozzo Lucrezia Borgia, the title role in Otello and Walther von Stolzing Die Meistersinger von Nürnberg. He made his début in the role of Radames Aida in a new production at the Royal Albert Hall and returned to English National Opera to sing the role of Maintop Billy Budd.
As an oratorio and concert soloist Jonathan Stoughton has performed in The Royal Albert Hall, Queen Elizabeth Hall, Wigmore Hall, Cadogan Hall, St John’s Smith Square, The Barbican Centre, Birmingham’s Symphony Hall, The Bridgewater Hall, Manchester and The Echo Arena, Liverpool. His repertoire includes Beethoven Ninth Symphony, Puccini Messa di Gloria, Dvorak Stabat Mater, Verdi Requiem, Elgar Dream of Gerontius, Mahler Symphony Number 8 and Das Lied von der Erde.
Jonathan Stoughton made his role début as Siegfried Götterdämmerung under Anthony Negus at Longborough Festival Opera for which he received the inaugural Robert and Pat LeFever Prize which will be awarded annually. He was also a prize-winner in the inaugural Wagner Society Competition.
Recent highlights include Bacchus Ariadne auf Naxos at West Green House Opera, Don José for Alden Biesen Zomeropera, Prince Rusalka and Lechmere Owen Wingrave for Theater Orchester Biel Solothurn, Florestan Fidelio for Dorset Opera, Adolar in Weber’s Euryanthe with Chelsea Opera Group, Alwa (Jimmy) American Lulu at the Bregenz and Edinburgh International Festivals, and Manrico Il trovatore with Chelsea Opera Group. He makes his début for Opera North in 2017/18 season.
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. . .”
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
"...it 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 . . .”
Don José / Carmen / Belgium 2015