South London-born soprano Clementine Thompson is a rising talent, hailed ‘a natural creature of the stage’ (Opera Magazine). She graduated from the RNCM (studying with Elizabeth Ritchie) and is currently studying for a Master’s at the RCM with Russell Smythe, supported by the Derek Butler Munster Trust Award.
Recent and future engagements include cover Frasquita Carmen (Glyndebourne Festival), title role The Cunning Little Vixen (RNCM), Clara Spark (Glyndebourne Autumn Season, world premiere), Messiah (Wild Arts), touring with The Monteverdi Choir, and small chorus L’Orfeo under Jonathan Cohen (Glyndebourne Festival). She is a member of the Glyndebourne Chorus for 2026–27 and will also sing in recital for the Glyndebourne Association annual Beaulieu Abbey concert.
Clementine received the Pamela Hart Third Prize at the 2023 Kathleen Ferrier Society Bursary Prize and has appeared as a Young Artist with Waterperry Opera Festival and as a member of the National Opera Studio Academy. Other awards include the German Lieder Prize at the David Clover Festival of Singing, finalist in the inaugural Sir Bryn Terfel Song Prize, and the Elsie Thurston, James Martin Oncken Song, Alexander Young and Underrepresented Prizes at the RNCM. She was VocalZone Scholar at the 2025 Da Ponte Festival in Vittorio Veneto, performing extended scenes as Despina and Susanna.
Other recent engagements include Alison The Wandering Scholar (Fenwold Opera), Mahler 4 (NEW Sinfonia), Handel’s Ode to St Cecilia (Belsize Baroque), Angel Jephtha (Wimbledon International Music Festival), and recitals alongside Helen Charlton and Dame Emma Kirkby.
Clementine also enjoys folk music and consort singing and has performed with Ventis Vocal Ensemble and the Mancunium Consort in Manchester.
The highlight of tonight’s performance with the ‘red’ cast was undoubtedly the singing of soprano Clemetine Thompson as the Vixen Sharpears. The warmth of her tone across her range coupled with strong stage presence made for a richly expressive and complex characterisation which was fully deserving of her enthusiastic curtain call. She was presented as a ferociously intelligent and ruthless leader, stirring the chickens into rebellion with feminist encouragement before graphically murdering them all via the jugular. There was convincing tenderness in her interactions with her mate, Goldenmane.
The key role in this opera, however, is the Vixen herself, and Clementine Thompson (who took it in this cast and will in one other performance, pictured above, with Esther Shea) was outstanding both vocally and in her stagecraft and movement. Without that it could have been considerably less enchanting – and Hannah Andrusier will I’m sure be a worthy exponent as she assumes the role
As Sharpears, Clementine Thompson made an indomitable heroine full of energy for whom family was everything. Wearing fox ears and a scarf for a tail Thompson wore both trousers and tops with a burnt orange theme. A natural actor, displaying confidence the soprano’s performance made an impression, bringing the character to life.
The other outstanding contribution came from Clementine Thompson's vivid Vixen. She radiated an infectious enthusiasm set off by a fetching range of facial expressions. Her strong soprano was inclined to burst a touch too strongly into the upper third of her range, thus breaking the smoothness of her line, but it was a fault on the right side. She is a natural creature of the stage with a voice to match.