South London born soprano Clementine Thompson is a rising talent, hailed ‘a natural creature of the stage’ (Opera Magazine) whose recent and upcoming engagements include the title role in Janáček’s The Cunning Little Vixen, originating the role of Clara in Spark as part of the Glyndebourne Autumn Season and touring with The Monteverdi Choir. She is a member of the Glyndebourne Chorus 2026 where she will sing in recital for the Glyndebourne Association annual Beaulieu Abbey concert and form part of the small chorus for Monteverdi's L'Orfeo under Jonathan Cohen.
She was the recipient of the Pamela Hart Third Prize at the 2023 Kathleen Ferrier Society Bursary Prize and has previously 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 of the inaugural Sir Bryn Terfel Song Prize as well as the Elsie Thurston, James Martin Oncken Song, Alexander Young and Underrepresented Prizes at the RNCM. Clementine was the 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 Charlston and Dame Emma Kirkby.
Clementine also enjoys folk music and consort singing and has enjoyed a busy performing schedule in Manchester, engaging with wider music traditions in groups Ventis Vocal Ensemble and the Mancunium Consort.
She will begin her master's studies under Russell Smythe at the RCM supported by the Derek Butler Munster Trust Award in September after graduating from the RNCM with Elizabeth Ritchie this summer.
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.