Jonathan Stoughton

Die Walküre Nationaltheater Mannheim April 2022
"Jonathan Stoughton has a pleasant-sounding, sustainable tenor and is an ideal Siegmund."
Nike Luber - Rhein Neckar Zeitung "Jonathan Stoughton as Siegmund hits the middle of heroic metal and lyrical spring colouring, it's also positive that he always leads the voice well and never braces notes"
Stefan M Dettinger - Mannheimer Morgen “First Jonathan Stoughton gave the visually attractive Siegmund a formative, robust vocal lyricism, the wonderful timbre unfolded sensitively, the middle range of his flexibly guided tenor flowed softly during his moving narration, increased with impressive ease in the brilliant, radiant flights of fancy Wälse calls. The tall, slender popular figure shifted his colorful vocals into a splendidly well-founded role analysis, and thanks to his sensitive (if the director allowed it) portrayal, he was an adequate partner for the petite-looking Sieglinde.”
Gerhard Hoffmann - online marker   Der Fliegende Holländer Mannheim 2022
Jonathan Stoughton in particular offered how much bel canto there is in Wagner as Erik. The composer himself remarked on the score "Erik should sing the part like Bellini and yet powerfully like Wagner", in any case the English tenor did excellent justice to these comments. In addition to the stately visual presence, Stoughton masterfully designed the hopeless huntsman in love and, contrary to previous listening habits, gave the part, in particular the dream story, a lyrical, song-like vibrancy. The singer with the wonderful timbre counteracted the radiant rises in height with verve and succeeded with an impressive role portrait. online merker
The young Jonathan Stoughton sings the hunter Erik very well, with a beautiful tenorally intensive timbre and also a lot of emphasis. 
Jonathan Stoughton sings an excellent Erik. Here a heroic tenor matures that combines the most important virtues of Wagner singing: timbre, dramatic power, endurance and the ability to declaim. He sings an exciting and effortless "dream story" in Act 1 and doesn't lend Erik a snarky attitude, instead fighting for his relationship with Senta. Stoughton's tenor is supple, effortless in all registers, and truly expressive. Kultur im Netz

Parsifal Nationaltheater Mannheim April 2022
A new Parsifal introduced himself Jonathan Stoughton, the British tenor caused a sensation last season with a grandiose guest emperor in the "Frau ohne Schatten" series, and has now shone again with a breathtaking Parsifal debut. The mature ladies were not only enraptured by the slender, tall appearance of the attractive singer, but were also aware of the tenoral qualities and, like the entire auditorium, downright enraptured. The idea of suffering, of compassion, is lived as a universal thought in human beings, whether religiously or emotionally transgredient, so Parsifal appeared to me today, probably thanks to Stoughton's personal emphasis, not as a stupid fool, but as an unbiased nature boy with understanding and compassion from the previous life experience accrued. The helpless gesture during the monologue of Amfortas suffering and a look around the community is touching: is nobody helping here? Characterized by a very strong acting presence, the singer succeeded in portraying immensely humanistic sympathy. Jonathan Stoughton also drew from the full vocal range with a youthful, bright, radiant, seamless tenor, and the singer seemed to feel at home in the role. Soft cantilenas, excellent phrasing, fresh colors, fine dark tones in the middle register, a wonderfully beautiful timbre and the flowing legato with the best accent-free articulation were his brilliant attributes and thus became a celebrated crowd puller. You can look forward to Erik, Siegmund and Siegfried (Götterdämmerung) coming soon. Online Merker

Der Freischütz Nationaltheater Mannheim April 2022
A slender lad comes along, Ännchen pondered, he really came in the form of Jonathan Stoughton and advanced to become Max's vocal ideal Grade.His wonderfully timbred tenor climbed the radiant heights excellently, giving the role a masculine, tart note with a robust, melodious middle register and the best intonation. In an excellent way, the intelligent singer knew how to effectively combine the lyrical sequences with dramatic nuances. Online Merker

Siegfried Act 3, Henry Wood Hall
"Jonathan Stoughton...continued on his triumphal Heldentenor progress with a bronze-voiced, brazenly confident, swaggering Siegfried whose incredible voice made the echoes ring, by turns cheery and threatening as he encountered the Wanderer, thrilling as he plunged into the flames, hushed in wonder on Brünnhilde's rock, touching in his fear and confusion, passionate and triumphant in his wooing. What a singer!” Wagner News

"I believe there are no limits to Jonathan Stoughton’s vigorous and very bright sounding tenor voice, and he was the singer – of the quartet – who enabled you to hear every word of Andrew Porter’s famous English translation. Clearly this Siegfried was an untameable headstrong youth” Seen and Heard International

Tristan und Isolde, Saffron Walden
“Jonathan Stoughton’s Tristan was the best I have heard so far from this fine Wagner and Strauss singer, who slipped easily from seductive lyricism to sumptuous Heldentenor. His characterization developed naturally throughout all three acts, with a superb love duet capped by a devastatingly abandoned Act 3” Opera magazine

“The two leads were superbly taken by Elaine McKrill […] and by the up and coming Jonathan Stoughton, Longborough's next Siegfried, and already a mature and phenomenally expressive artist so tremendous that he actually coped with the insanely demanding Act III monologues and emerged heroically for what must have been a very welcome death.” Spectator

“Stoughton showed he understood the role and he aided McKrill [Isolde] in bringing a ravishing dream-like quality to the Act II Liebesnacht love duet. Stoughton’s reply to King Marke at the end of Act II was heartrending and he brought an inner conviction to his Act III ravings that were sung in plangent tones.” Seen and Heard International

Jonny spielt auf, National Theatre Prague
“This role [the composer Max] is performed by Jonathan Stoughton with heldentenor prowess, especially in his "dialogue" with the glacier, where he hopes to rediscover his creativity.” O-Ton

“The most prepossessing performance was delivered by Britain’s Jonathan Stoughton, a Heldentenor with an already established international reputation. When portraying the introvert composer Max, a creative artist having difficulties with establishing personal relationships, Stoughton showcased a voluminous voice possessing a beautiful timbre, smartly balancing the lyrical and dramatic facets of the challenging part.”

“Most notable was the heroic tenor of Englishman Jonathan Stoughton as Max. A voice Wagnerian in nature, expansive, ringing and technically secure, so even the great and merciless demands posed by Krenek caused him no problem.” Opera Slovakia

“The artist Max was portrayed by the elegant Jonathan Stoughton, with a tenor voice of heroic character, sonorous all around, with safe heights.” Der neue Merker 

“Lano reacts sensitively to the capabilities of the singers and is able to give them great and haunting scenes. This is particularly true for the tenor Jonathan Stoughton in the role of the composer Max. First, he stays in a lower, almost baritone-like, register when singing of his longing enthusiasm for nature. In a sweeping monologue scene later on, the singer then has the incredibly dramatic high-pitched voice of a Heldentenor.” Das Opernglas

“The male protagonists carried the evening eloquently and confidently: Jonathan Stoughton as Max with a brilliant heroic tenor” Die Presse

Ariadne auf Naxos, Longborough Festival Opera
"Jonathan Stoughton, one of Longborough's "White hope" Heldentenors, who has never sung better, in my presence, than here as Bacchus." The Sunday Times

"Stoughton is on glorious Heldentenor form, tirelessly pushing the boundaries of the music's burgeoning transcendence." Classical Source

"The entrance of Bacchus (Jonathan Stoughton) in towering silhouette against a crimson sky is thrilling; and then comes the unrivalled Longborough experience of hearing two heroic voices and an utterly committed orchestra in extreme close-up. That sealed it." The Spectator

"He [Bacchus] was played by Jonathan Stoughton on swaggering Heldentenor form, vocally fearless...Both he and Dix aced the transcendent closing music." Opera Magazine

"Jonathan Stoughton's macho tenor makes way, similarly, for a superb Bacchus: every inch the star, Stoughton commands the stage with fearless sincerity, taking Bacchus on a genuine journey of emotional discovery as the young god comes to know his own power through the experience of Ariadne's love, his tenor sumptuous and expressive." Bachtrack

"Jonathan Stoughton reveals a brilliantly expansive tenor that is capable of meeting the considerable demands presented by Bacchus's soaring lines, which are ones that even the world's leading heldentenors find they have to respect." musicOMH

"Here Bacchus is a hero (sung and acted heroically by a very attractive Jonathan Stoughton)." Plays To See

"Jonathan Stoughton, resplendent in his Star-Wars costume as her god-like saviour sang a wonderful tenor, creating the dramatic union with Ariadne as the young composer intended." Mark Ronan

"Jonathan Stoughton's fine tenor voice and his previous experience in the role of Bacchus were much in evidence and he gave a strong account of this unforgiving role." The Critic's Circle

Der fliegende Holländer, Longborough Festival Opera
" there was enough lyrical warmth and intensity in his [Jonathan Stoughton's] attractive tenor for Erik, Senta's discarded suitor, to come across as the most sympathetic character." Opera Magazine

"there is a personable and energetically sung Erik from Jonathan Stoughton." The Arts Desk

"Jonathan Stoughton... characterise[d] the lovelorn Erik with ardour and impressive vocal urgency." What's on Stage

"Jonathan Stoughton further endorsed his Heldentenor credentials with a dark-toned, weighty Erik." Bachtrack

Götterdämmerung, Saffron Hall
"[Jonathan Stoughton] makes a lovely sound, easily conveying the hero’s innocence and vulnerability, and the way his voice slightly thickened and darkened in keeping with the plot was very finely judged, his top notes secure and attractive, triumphantly so in his Act 3 narration." Opera Magazine

"Stoughton conveys confident, joyous command of his exceptionally promising talent." Operisssima

 Götterdämmerung (Act III), Henry Wood Hall
"Another who particularly impressed me was Jonathan Stoughton as Siegfried...Stoughton has the opportunity – because of his basically lyrical sound – to return the ‘beauty’ to Siegfried and not just because he looks like a Byronic hero." Seen and Heard International

Cavalleria Rusticana, Opera North
“The bigger roles are superbly cast... Turiddu is a shifty Jonathan Stoughton, his vocal beauty will befitting such a character.” The Arts Desk

“Opposite her [Giselle Allen], as Turiddu, the voice of up-and-coming heroic tenor Jonathan Stoughton could be heard clear as a bell even when at the back of the set facing the other way. He looked the part too with his shaggy dark hair, open white shirt and fashionable beard.” Seen and Heard International

"The main protagonists all shine individually – the anti-hero, Turiddu (Jonathan Stoughton), shows a superb range of tone..." Yorkshire Post “Jonathan Stoughton sings Turiddu, the faithless husband-to-be, with great intensity.” British Theatre Guide

“Turiddu is sung by Jonathan Stoughton, an imposing and impressive tenor. He creates a wholly believable Turiddu, whose uncontrollable infatuation has broken all the bounds of society and religion.” ON Magazine

"Jonathan Stoughton makes an excellent debut for Opera North as Turiddu, the reckless cad who gets his just desserts..." Culture Vulture

“Jonathan Stoughton - a virile Italianate Turiddù” Huddersfield Examiner   "Jonathan Stoughton's heroic bronzed timbre belies the shifty
Turiddu..." Ilkley Gazette

Un Ballo in maschera, West Green House Opera
"The excellent cast is headed by Rebecca Nash as Amelia and Jonathan Stoughton as Gustavus, who both stood out here in 2015 as Ariadne and Bacchus respectively...Stoughton reveals his large, expansive tenor and strong presence to good effect, and his scenes with Nash are electric." musicOMH

" outstanding cast and thrilling orchestral support fills in the drama with a superb musical performance. Jonathan Stoughton leads the way with his characterisation of the King which emphasises not so much his generous, liberal attitude but the flawed maverick in him... [an] expansive and vivid performance." Classical Source

Siegfried, Saffron Opera Group (Saffron Hall) "Jonathan Stoughton was the ardent, fresh toned and promisingly tireless Siegfried " The Guardian

“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

“... Jonathan Stoughton’s 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

"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

Ariadne auf Naxos, West Green House Opera “...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...”  Classical Source

"Bacchus was Jonathan Stoughton... full-voiced, focussed and fearless!" Opera Magazine "...the tenor of  Jonathan Stoughton as Bacchus is equally assertive and affecting." musicOMH

Rusalka, Theater Orchester Biel Solothurn “...a tenor of special quality...Jonathan Stoughton mastered the exposed role of the Prince with radiant stentorian voice and genuine feeling...” Bieler Tagblatt

“...a fantastic tenor” Berner Kultur Agenda

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

Fidelio, Dorset Opera “..he sang with great dramatic strength and assurance..." Opera Magazine

Götterdämmerung, Longborough Festival Opera " a revelatory performance...he sang with terrific verve and looked every inch the naive, barrel-chested hero.” 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...” The Arts Desk

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

" 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..." Wagner News

Jimmy / American Lulu – Bregenz & Edinburgh International Festivals/Mahogany Opera Group/Scottish Opera

"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.” Salzburger Nachrichten

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

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