© Guðmundur Ingólfsson

Stuart Skelton


Management: Australasia and Asia

Website: www.stuartskelton.com

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Wagner: Tristan und Isolde, West Australian Symphony Orchestra (ABC Classics CD)

“Stuart Skelton’s polished mahogany baritonal hue…[His] Tristan is most remarkable in its range of expression from gentle caress to roaring rage…His detailed word painting with such finely graded colours is captivating and one hangs on his every utterance…A towering performance from a great singing actor.”

Warwick Arnold, Limelight Magazine, November 2019


Shining Knight, West Australian Symphony Orchestra (ABC Classics CD)

“He knows his Wagner inside out and Skelton is as reliable as ever. Possibly there is no better Wagner tenor around at present. He delivers unforced singing, beautiful tone, strength, brilliance and natural phrasing. His enunciation is also exemplary…”

Göran Forsling, MusicWeb International, March 2019


Fidelio, Teatro alla Scala,

“Skelton’s powerful, burnished tone shot out of darkness like a thunderbolt in the opening cry of pain.  In the remainder of the aria, the Heldentenor communicated steadfast nobility in the face of crushing solitude, before building to an upliftingly sanguine conclusion”.

James Imam, Bachtrack, June 21, 2018

Wagner, Die Walküre, Hong Kong Philharmonic c. Jaap van Zweden (Naxos 4 CD)
Stuart Skelton’s magnificent Siegmund is here preserved in excellent sound, the stream of golden tone pouring forth in this, a signature role.  His attention to psychological detail and word painting is compelling, culminating in a moving Zauberfest.”

Clive Paget, Limelight, April 2017

Tristan und Isolde, English National Opera
“Stuart Skelton’s Tristan is the finest account of Wagner’s most extreme and taxing operatic character...that I’ve ever seen or heard on a stage.”

David Nice, The Arts Desk, June 2016


“…the evening’s greatest stage performance comes from Heldentenor Stuart Skelton, whose Tristan is tireless and sung with profound conviction”.

George Hall, The Stage, June 16, 2016

Otello, English National Opera
“He vocalised the role superbly: not a crack or a fumble, the tone trumpet-bright and penetrating. Not since Domingo in his prime can this music have been sung with more complete assurance.” 

Rupert Christiansen, The Telegraph, September 2014

Peter Grimes, San Francisco Symphony
“Stuart Skelton’s magnetic performance captured Grimes’s blunt, looming physicality and wounded fragility in equal measure. Skelton’s tenor is astonishingly virile — stunning in its power at forte, softly sensitive in “Now the Great Bear and Pleiades” and honeyed in the lyrical passages describing his dream of love for Ellen Orford. His early scenes projected a blunt, defiant misanthrope given to quicksilver flashes of rage, and his final scene — a wrenching descent into madness — was shattering.”

Georgia Rowe, Opera News, July 2014

Peter Grimes, English National Opera
“Skelton, singing with astonishing visceral intensity, is surely now the Grimes de nos jours. Not to be missed on stage.”

Hugh Canning, Sunday Times, February 2014

Die Walküre, Opera Australia
“Skelton’s monumental performance combined glorious warmth and colour with elemental expressive energy that taps something deeply human and intuitive.”

Peter McCallum, Sydney Morning Herald, November 2013

Stuart has appeared in many of the world’s most celebrated opera houses including the Metropolitan Opera, Seattle Opera, San Francisco Opera, English National Opera, Paris Opera, Bavarian State Opera, Hamburg State Opera, Berlin State Opera, Deutsche Oper Berlin, Dresden Semperoper and the Vienna State Opera. His roles include the title roles in LohengrinRienziParsifalDmitrij, Otello and Peter Grimes as well as Florestan in Fidelio, Laca in Jenufa, Erik in Der Fliegende Holländer, The Kaiser in Die Frau ohne Schatten, Bacchus in Ariadne auf Naxos, Max in Der Freischütz,  Canio in Pagliacci, Gherman in The Queen of Spades, and Siegmund in Der Ring des Nibelungen.

He continues to be in demand on concert stages around the world, having appeared with such orchestras as the Atlanta Symphony Orchestra, Boston Symphony Orchestra, Chicago Symphony Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Montreal Symphony, Hamburg, Frankfurt and Munich Radio Symphony Orchestras, London Symphony Orchestra, the BBC Orchestras of Scotland and Wales and the Symphony Orchestras of Sydney, Melbourne, Western Australia and Tasmania. He has also appeared at the Edinburgh and Lucerne Festivals, and in the BBC Proms.

Throughout his career Stuart has been fortunate enough to work with many acclaimed conductors including Vladimir Ashkenazy, Daniel Barenboim, Jiři Bèlohlavek, Christoph von Dohnanyi, Christoph Eschenbach, Asher Fisch, Edward Gardner, Daniele Gatti, Phillipe Jordan, Fabio Luisi, Lorin Maazel, David Robertson, Sir Simon Rattle, Donald Runnicles, Simone Young and Jaap van Zweden.

The tenor made his debut at Teatro alla Scala in the 2017-18 season in Fidelio conducted by Myung-Whun Chung in a production directed by Deborah Warner. Stuart Skelton’s robust concert calendar included performances of Mahler’s Das Lied von der Erde with Asher Fisch and the Milwaukee Symphony, Adam Fischer and the Düsseldorfer Symphoniker, and with Sir Simon Rattle and the Symphonieorchester des Bayerischen Rundfunks and the London Symphony Orchestra at Lincoln Centre; Elgar’s The Dream of Gerontius with Sir Andrew Davis and the Melbourne Symphony Orchestra and with Sakari Oramo and the BBC Symphony Orchestra. Mr Skelton also joined the Dallas Symphony in the farewell performances of Jaap van Zweden in Beethoven’s 9th Symphony, appeared in recital at the Melbourne Recital Centre with pianist Richard Peirson, followed by concert performances and recording of Tristan und Isolde with Western Australian Symphony Orchestra under Asher Fisch.

Stuart’s 2018/19 season saw him make his Royal Opera House debut as Siegmund in Der Ring des Nibelungen conducted by Sir Antonio Pappano and return to the Metropolitan Opera as Otello under Gustavo Dudamel and again as Siegmund in Die Walküre und Phillipe Jordan.

Siegmund featured again in London with the London Philharmonic under Vladimir Jurowski and again with Bayerische Rundfunk Orchestra and Sir Simon Rattle.

Mr Skelton returned to Otello with the Berlin Philharmonic at the Baden Baden Festival under Maestro Zubin Mehta before making his Budapest Wagner Festival debut as Siegmund under Adam Fischer.

Stuart continued his close relationship with David Robertson and Sydney Symphony in concert performances of Peter Grimes and with Edward Gardner and the BBC Symphony, in a performance of Das Lied von der Erde at the BBC Proms.

Upcoming appearances include Act II of Tristan und Isolde with the Concertgebouw Orchestra under Daniel Harding, Die Walküre with the Netherland’s Radio Philharmonic under Jaap van Zweden, and collaborations with Karina Canellakis in Act 1 of Die Walküre with the Royal Stockholm Philharmonic and Beethoven’s Mass in C with the Orchestra de la Radio France. 2019/20’s season also sees Stuart return to Teatro Real, Madrid for Robert Carsen’s Die Walküre, San Francisco Symphony for Act 1 of Die Walküre under Simone Young, Bergen Philharmonic for performances and recording of Peter Grimes under Edward Gardner and a return to the Vienna State Opera as Parsifal.

Mr Skelton recently released his first solo Album, Shining Knight, with works by Wagner, Griffes and Barber and Tristan und Isolde, both recorded with West Australian Symphony Orchestra under Asher Fisch.

In 2016 Stuart made his role debut as Tristan in production of Tristan und Isolde with the Baden-Baden Festspiel with the Berlin Philharmonic under Sir Simon Rattle, followed on by a new production of the same opera at the English National Opera under Ed Gardner and then again in the MET’s season-opening production of Tristan und Isolde also conducted by Sir Simon Rattle. Skelton returned to his native Australia for Tristan und Isolde in concert with Nina Stemme and the Tasmanian Symphony Orchestra under Marko Letonja, a Wagner Arias concert with West Australian Symphony Orchestra and Asher Fisch, rounding out his Australian tour with concert performances of Parsifal Act II with the Melbourne Symphony Orchestra and Simone Young.

2017 saw Stuart return to the Opera National de Paris in the title role of Lohengrin, the Bavarian State Opera as Laca in Jenufa and the Deutsch Oper Berlin as Siegmund, make his debut with the Cincinnati Symphony in Mahler´s Das Lied von der Erde and a return to the Bergen Philharmonic for concert performances of Peter Grimes and Otello. Stuart also made a return to Mahler´s Das Lied von der Erde with The Metropolitan Opera Orchestra at Carnegie Hall, under Esa-Pekka Salonen and Sir Andrew Davis and the Melbourne Symphony Orchestra, as well as concert performances of Die Walküre with the Bilbao Orkestra Sinfonikoa. Making a welcome return to the BBC Proms, Stuart appeared as Florestan in Beethoven’s Fidelio with the BBC Philharmonic under Juanjo Mena. Renewing his frequent collaborations with Edward Gardner, Stuart once again appeared as Peter Grimes with the Bergen Filharmonic at The Edinburgh International Festival. Stuart rounded out his year with performances of Siegmund with the Salzburg Easter Festival production of Die Walküre with the Hong Kong Philharmonic under Jaap van Zweden, in Beijing and Beethoven’s Missa Solemnis with St Louis Symphony Orchestra and long-time collaborator David Robertson.

Stuart has twice been honoured with the Sir Robert Helpmann Award, once for his performance of Siegmund in the State Opera of South Australia’s 2004 production of the The Ring Cycle, and again in 2010 for Best Male Performer in a Lead Role for his portrayal of Peter Grimes for Opera Australia. He received a 2010 Green Room Award for A Streetcar Named Desire and is a two-time Olivier Award nominee for Outstanding Achievement in Opera for his performances as Peter Grimes and Tristan with the English National Opera.


Stuart Skelton is managed by Graham Pushee: graham@artsmanagement.com.au
January 2020
 This biography is for general information purposes only and not for publication.
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