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Layla Claire

  • Soprano


Layla Claire reviews

Critical Acclaim

“Despite the hot, humid weather, Mr. Thomas drew brilliant playing from the orchestra, magisterial singing from the Tanglewood Festival Chorus and inspired performances from the two vocal soloists: the luminous soprano Layla Claire and the extraordinary mezzo-soprano Stephanie Blythe.”

Anthony Tommasini, New York Times, July 2010


“The revelation of the evening was Layla Claire’s touching and vulnerable performance of ‘Adieu notre petite table’ from Massenet’sManon; her perfect technique allowed her voice to swell and bloom.”

Wah Keung Chan, La Scena Musicale, December 2009


“The standout voices were female, especially Donna Anna (Layla Claire), a top-of-the-range soprano who sang the most challenging passages with ease.”

Keith Powers, Boston Herald, July 2009


“Layla Claire, as the grief-addicted Donna Anna, sang with limpid, steely sound and gripping commitment.”

Matthew Guerrieri, Boston Globe, July 2009


“Soprano Layla Claire … was the quintessential Susanna. Her bright soprano rang true, and she was perfection in this role. Her last solo in Act IV, Deh vieni non tardar, was sung beautifully.”

Rex Hearn, Palm Beach Arts Paper, March 2009


"Fiordiligi's 'Per pietà' [was] beautifully sung by the promising soprano Layla Claire."


Opera News, October 2007


"Canadian Layla Claire's beautifully balanced soprano, enriched with a seductive depth of tone, served her thoughtful characterization of the more serious, morally-minded [Fiordiligi] well. Particularly as the evening progressed, her voice warmed into a truly memorable resonance, and her expressively phrased and probing "Ei parti, sento!" and "Per pietà, ben mio, perdona" earned her a warm ovation from the audience. Ms. Claire is an outstanding young singer, and I would be surprised if we don't see her often on major stages in the future."


BerkshireFine Arts, August 23, 2007


"Also astonishing was the sheer musicality of Layla Claire as Fiordiligi. She negotiated the huge vocal leaps of her part the way a good clarinetist might and had shockingly accurate intonation in coloratura passages. In Fiordiligi's defining first act aria "Come scoglio," Claire was able to sound each note of the fast triplets in the "Più Allegro," even at the blazing speed of the music."

The Hartford Courant, August 14, 2007


"[Layla Claire’s] aria Adieu notre petite table, from Massenet's Manon, was delivered with emotive force and a poised sensitivity."


Palm BeachOpera Competition, Palm Beach Daily News, May 2nd, 2007

“Layla Claire en Susanna: émouvante, rouée, amusante, bonne actrice et chanteuse capable du meilleur; elle a été le pivot et le catalyseur de cette remarquable équipe.”


Le Nozze di Figaro, Le Devoir, Feb. 26, 2005

“The most consistent impact of the evening, in an operatic debut in the secondary role of Gianetta, came from Penticton’s Layla Claire. Beautiful and expressive to the fingers, she is a focused, remarkably rich soprano.”


Elisir d’amore, Daily Courier, Aug. 27, 1999

“Le Seul air connu de la partition, le très bref « O mio babbino caro », trouve une voix gracieuse chez Layla Claire.”


Gianni Schicchi, La Presse, Feb. 29th, 2001

“The most consistently arresting person on stage was ingénue Layla Claire as Gianetta. From the moment of her first appearance, she demonstrated a seemingly effortless dramatic gift, avoiding the temptation of opera buffo to overplay, yet riveting attention on every move. We had to wait until Act 2 to fully appreciate her voice, equally mature and full of promise.”

Elisir d’amore, The Morning Star, Wed. Aug. 25, 1999