Tristan / Tristan und Isolde - Saffron Hall


‘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.’

Michael Tanner - The Spectator blog

He [Jonathan Stoughton] has a formidable technique at his disposal, great reserves of stamina, and Italianate lyricism... 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.’

 Jim Pritchard - Seen and Heard International 

 Max / Jonny spielt auf - State Opera Prague

“die männlichen Protagonisten trugen eloquent und sicher den Abend: Jonathan Stoughton als Max mit brillantem Heldentenor”

(The male protagonists carried the evening eloquently and confidently: Jonathan Stoughton as Max with a brilliant heroic tenor)

Walter Gürtelschmied - Die Presse

“Zaujal především britský tenorista Jonathan Stoughton, dnes již zpěvák etablovaný i v nejnáročnějším wagnerovském hrdinném repertoáru. Ten v roli introvertního skladatele Maxe, umělce – tvůrce, těžko navazujícího osobní vztahy, doslova hýřil voluminózním hlasovým fondem bez zbytečného tlaku, krásnou barvou tónů i příjemným a inteligentním vyvážením lyrickým a dramatických momentů obtížného partu. Požadovaný režisérský výklad na něho nekladl příliš vysoké nároky při formování jednoduchého typu, takže umělec se mohl plně soustředit především na pěveckou složku.”

(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.)

David Chaloupka -

“Najmarkantnejšie pôsobil hrdinný tenor hosťujúceho Angličana Jonathana Stoughtona v postave Maxa. Hlas wagnerovských parametrov, objemný, priebojný a technicky podkutý, takže ani nemilosrdné prechodové tóny, ktoré postave Krenek nadelil ozaj hojne, ho nezradili.

(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.)

Pavel Unger - Opera Slovakia

Dieser [der Komponist Max] wird von Jonathan Stoughton mit heldentenoralen Höhen vorgetragen, besonders in seinem „Dialog“ mit dem Gletscher, wo er hofft, seine Kreativität wieder zu entdecken.

(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.)

Zenaida des Aubris - O-Ton

Bacchus / Ariadne auf Naxos - Longborough Festival Opera


"...a performance of Ariadne of near-international class, with a hand-picked cast of outstanding singers... Jonathan Stoughton, one of Longborough's "White hope" Heldentenors, who has never sung better, in my presence, than here as Bacchus."

Hugh Canning - The Sunday Times


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

Peter Reed - 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."

Richard Bratby - The Spectator


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

Peter Reed - 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."

Charlotte Valori - 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."

Sam Smith - musicOMH


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

Mel Cooper - 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."

Sebastian Scotney - The Critic's Circle

“Jonathan Stoughton est un Heldentenor en bonne et due forme : peu importe si Strauss a semé de récifs la partie difficile de Bacchus, il s’en joue sans problème. L’aigu est lumineux, l’inflexion flamboyante. D’abord vaillant, le héros évolue vers le sensible, ce qui nous vaut un duo amoureux absolument génial”

Hervé König - Anaclase

Erik / 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."

Peter Reed - Opera Magazine


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

Stephen Walsh - The Arts Desk


"Jonathan Stoughton... characterise[d] the lovelorn Erik with ardour and impressive vocal urgency."

Mark Valencia - What's on Stage


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

John Johnston - Bachtrack



Siegfried / Götterdämmerung - Saffron Hall


"Siegfried was Jonathan Stoughton, who was even more impressive and bigger voiced than he was in Saffron Opera’s Siegfried. He 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."

Peter Reed - Opera Magazine


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

Charlotte Valori - Operisssima

Vakula / Christmas Eve - Chelsea Opera Group


"Natasha Jouhl (Oksana) and Jonathan Stoughton (Vakula) made an attractive couple, conveying their stormy on-off relationship in interpretations that ranged from the shrewish to the sensuous (Jouhl) and from the oafish to the heroic (Stoughton)"

Amanda Holloway - Opera Magazine


"Jonathan Stoughton sang Vakula with bright, heroic tone coping well with the part's high tessitura, and managing to convey the ardency of Vakula's feelings whilst hinting that he had 'fists like anvils'"

Robert Hugill - Planet Hugill


"Jonathan Stoughton was an extremely powerful Vakula, allowing his strong and expansive tenor to come to the fore."

Sam Smith - musicOMH

Siegfried / 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."

Jim Pritchard - Seen and Heard International


Turiddu / Cavalleria Rusticana - Opera North


“The bigger roles are superbly cast... Turiddu is a shifty Jonathan Stoughton, his vocal beauty ill befitting such a character.”

Graham Rickson - 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.”

John Leeman - Seen and Heard International


“...she's outstandingly partnered by Jonathan Stoughton's village stud Turiddu”

George Hall - The Stage


"The main protagonists all shine individually – the anti-hero, Turiddu (Jonathan Stoughton), shows a superb range of tone..."

Steve Draper - Yorkshire Post

“Jonathan Stoughton sings Turiddu, the faithless husband-to-be, with great intensity.”

Mark Smith - 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.”

Sandra Callard - ON Magazine


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

Cath Annabel - Culture Vulture


“Jonathan Stoughton - a virile Italianate Turiddù”

Gavin Castle - Huddersfield Examiner 


 "Jonathan Stoughton's heroic bronzed timbre belies the shifty Turiddu..."

Geoffrey Mogridge - Ilkley Gazette


Gustavo / 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."

Sam Smith - 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."

Curtis Rogers - Classical Source


Siegfried / Siegfried - Saffron Opera Group (Saffron Hall)


" Jonathan Stoughton was the ardent, fresh toned and promisingly tireless Siegfried "

Andrew Clements - 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.”

Peter Reed - 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.”

Charlotte Valori - 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.”

Paul Dawson-Bowling - Wagner News


Bacchus / 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...”  

Warwick Thompson - Classical Source


"Bacchus was Jonathan Stoughton... full-voiced, focussed and fearless!"  

Yehuda Shapiro - Opera Magazine


"...the tenor of  Jonathan Stoughton as Bacchus is equally assertive and affecting."  

Sam Smith -  musicOMH


Lechmere / Owen Wingrave - Theater Orchester Biel Solothurn


"On y distingue le brillant Lechmere du ténor Brittanique Jonathan Stoughton..."  (The radiant Lechmere of British tenor Jonathan Stoughton stood out...)

François Lehel - Opéra Magazine


The Prince / Rusalka - Theater Orchester Biel Solothurn


"...einen Tenor der Sonderklasse... Jonathan Stoughton bewältigt die exponierte Partie des Prinzen mit strahlender Stentorstimme und echte Empfindung....”   (...a tenor of special quality...Jonathan Stoughton mastered the exposed role of the Prince with radiant stentorian voice and genuine feeling...)  

Peter König - Bieler Tagblatt


“....einen tollen tenor" (...a fantastic tenor)  

Berner Kultur Agenda


“...Jonathan Stoughton als Prinz fasziniert mit einem metallisch timbrierten Heldentenor...” (... Jonathan Stoughton as the Prince enthralled with a metallically timbred Heldentenor...)  

Langenthaler Tagblatt 


Florestan / Fidelio - Dorset Opera


“ ...he sang with great dramatic strength and assurance..."  

Rian Evans – Opera Magazine


Runner-up in Wagner Society Singing 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 - Chelsea Opera Group


 “...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..."  

Mark Berry - Opera Today


Siegfried / Götterdämmerung - Longborough Festival Opera


 " 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 Magazine


" 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 – Bregenz & Edinburgh International Festivals/Mahogany Opera Group/Scottish Opera


"...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 Robert Winslade Anderson and Jonathan Stoughton...)  

Anna Mika - Kleine Zeitung


"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.)  

Salzburger Nachrichten                  


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

Ken Walton - The Scotsman 


Siegfried / Götterdämmerung excerpts - 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 / Lucrezia 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."