Clive Bayley

• Bass

Reviews

Clive Bayley reviews

Die Entfuhrung aus dem Serail, Opera North, May 2009

"...Clive Bayley's magnificently sung Osmin..."

Richard Morrison, The Times, 22 May, 2009

"...excellent singing from the magnificent bass of Clive Bayley as Osmin"

David Denton, Yorkshire Post, 22 May 2009

"Clive Bayley resists the temptation to turn Osmin into a caricature"

Andrew Clark, Financial Times, 21 May, 2009

Don Carlos, Opera North, May 2009

"The highlight [of the evening] is the chilling encounter between Phillip II and his Grand Inquisitor, a gravid duet for two basses that descends to the roots of religious paranoia... Clive Bayley's ancient, blind Inquisitor is the image of a twisted fire-starter"

Alfred Hickling, The Guardian, 6 May, 2009

"...Clive Bayley's potent Grand Inquisitor..."

Neil Fisher, The Times, 4 May, 2009

Messiah, City of Birmingham Symphony Orchestra, 5 December, 2008

"Clive Bayley's ringing bass notes and declamatory thrust unified the sense of 'Why do the nations so furiously rage' with Handel's sound."

Birmingham Post, 6 December, 2008

Rusalka, Grange Park, September 2008

"All the central performances were remarkable. Clive Bayley gave all his appearances as Rusalka's doom-laden merman father potent authority".

George Hall, "Opera", September 2008

Die Walkuere Opera du Rhin, Strasbourg April 2008

"A perfect Hunding from Clive Bayley, dressed as a Samourai Chief, singing with complete authority and well-supported low notes."

Musique Classique 22 April 2008

"A fine performance also by Clive Bayley playing Hunding"

Il Giornale della Musica 22 April 2008

Billy Budd, Oper Frankfurt, November/December 2007
“Clive Bayley’s Claggart, a meticulously drawn study in repression, will stay long in the memory; the jaded schoolmaster, with pencil moustache, the always buttoned leather-patched tweed jacket, gliding with a sickening prurience, when not directly involved lurking voyeuristically in the shadows, an omnipresent force for evil. I have never heard Claggart’s Act I hymn of hatred better sung.”

Roger Chapple, Opera Now, March/April 2008

Die Walküre, Royal Opera House, Covent Garden, October 2007
" Clive Bayley sang Hunding from the side of the stage [and] his rich voice and way with the text made one long to have him perform the part properly"

Dominic McHugh, Musical Criticism, October 2007

Die Walküre, English National Opera, 2004 and 2002
"Clive Bayley’s vicious Hunding is the best performance of the evening."

Rupert Christiansen, The Daily Telegraph 2004

“Clive Bayley’s darkly sonorous villain, Hunding (the star of the show)…”

Hugh Canning, The Sunday Times, May 2004

"For clarity and colour one of the stars of the cast was Clive Bayley as a brutish, bewildered Hunding."

Anna Picard, The Independent 2004

"Clive Bayley excelled as Hunding."

Fiona Maddocks, The Evening Standard 2004.

"Clive Bayley’s thuggish Hunding is superb."

Andrew Clements, The Guardian 2004.

“A formidable Hunding”

The Independent on Sunday, May 2004

“Clive Bayley is brilliant and gripping as Hunding.”

Sunday Express, May 2004

“Clive Bayley was rock solid and musical as an impassive but terrifying Hunding, as focused of voice as he had always been and perhaps a future Wotan.”

Concertonet.com, May 2004

“Clive Bayley’s Hunding is excellent.”

The Daily Mail, May 2004