It is sometimes said that Richard Strauss hated tenors, as evidenced by his “gift” of Bacchus, a short but treacherous role. Well, this 20-minute role holds no terror for Mr. Hilley. With a trumpet of a voice, he certainly made it all sounded easy.

Ludwig Van, Joseph So

American tenor Clay Hilley is an ideal Florestan. He began his scena with the word “Gott” sung imperceptibly, slowly crescendoed into a hall-filling forte, then with a diminuendo that ended with the voice disappearing into thin air, all in one breath — a stunning start. He proceeded to give a performance of such passion and intensity that it will stay in the memory bank.

Ludwig Van, Joseph So

Clay Hilley did a fine job with the testing role here confirming his Wagnerian promise before an audience familiar with Jon Vickers in this signature role.

Gay City News, David Shengold

Making his role debut as Tannhäuser was the American tenor Clay Hilley, whose bright and robust voice is made for its technical demands. Hilley sang with zeal and commitment…

The Guardian, David Lee

Clay Hilley sang superbly on his debut in the role (Tannhäuser).

The Times, Simon Thompson

In the title role, the American heldentenor Clay Hilley both looked and sounded the part…Vocally, he was more than a match for the part, with a clear tone and an edge to the high voice that cut through even the loudest orchestral accompaniment.

The Arts Desk, Christopher Lambton

Siegfried gets even better. Herheim has a gift for comedic detail, and there are outstanding performances from Clay Hilley, as a charmingly hulking Siegfried…Hilley, done up like Melchior in some faded production of yore, is a thoughtful, nuanced actor with a good line in irony. Vocally, he’s the finest Siegfried on DVD, with ringing top notes, perfect diction and impressive tonal flexibility.

Opera News, Clive Paget

Clay Hilley als Kaiser hat die uninteressanteste Rolle der Oper…aber auch er klingt großartig mit nimmermüden und durchaus heldischen Spitzentönen.

Berliner Zeitung, Peter Uehling

In “Götterdämmerung,” Clay Hilley was a last-minute replacement as Siegfried, and he would have been impressive even under less dramatic circumstances.

The New York Times, Zachary Woolfe

This is Clay Hilley’s first Siegfried, and his performance is close to perfection – powerful, subtle, intelligent, every word crystal clear.

Financial Times, Shirley Apthorp

Wenige Sänger schaffen diese Monsterrolle, gute Siegfriede sind auf dem internationalen Opernparkett rar, und der Heldentenor Clay Hilley aus Georgia ist nicht nur textsicher bei all dem verschwiemelten Wagnerdeutsch, er teilt seine unglaubliche Stimmkraft auch klug ein und lässt sie strahlen.

BR Klassik, Maria Ossowski

Clay Hilley ist ein noch junger Heldentenor mit unbeschwerten Höhen-Anlagen, die tatsächlich aufhorchen lassen, mit Durchhaltevermögen und szenischer Unempfindlichkeit.

Der Tagesspiegel, Ulrich Amling

Clay Hilley’s Siegfried has extraordinary energy and stamina, and he hurls himself at the role with reckless courage and skill.

Financial Times, Shirley Apthorp

Mit einwandfreier Diktion, unverfälscht in der Farbe, mit kraftvollen, aber auch zarten Tönen vermag der amerikanische Tenor Clay Hilley mit der Fähigkeit zur Selbstironie ebenso zu überzeugen, wie mit dem mühelos ausgehaltenen hohen Cs.

NMZ Online, Peter P. Pachl

Der junge Clay Hilley hat sich als Siegfried in die erste Reihe der Heldentenöre mit Zukunft gesungen. Wie er sich immer mehr frei spielt und auch stimmlich sogar noch steigert, ist imponierend.

Concerti, Roberto Becker

Alles staat of valt met de kwaliteiten van de hoofdrolzanger, en de Amerikaan Clay Hilley is in dat opzicht subliem, met zijn volstrekt natuurlijke, expressieve tenorgeluid dat geen moment neigt naar gebral.

de Volkskrant, Frtis van der Waa

For the remarkably high-lying, famously testing part of Paul, Bard fielded tenor Clay Hilley, in a very impressive role debut. The Georgia native has a striking résumé of dramatic parts, including a strong Dimitrij in Dvorˇák’s opera at Bard two summers ago. Hilley sustained Korngold’s punishing tessitura admirably, keeping the line musical and dynamically flexible, earning vociferous bravos.

Opera News, David Shengold 

As he had two years ago as Dvorak’s Dimitrij, indefatigable American heldentenor Clay Hilley poured out floods of secure, golden, seemingly effortless tone throughout. One never ever had to nervously hold one’s breath as each soaring forte climax approached.

I can imagine Paul will suit Kaufmann’s brooding persona quite well but I’ll be surprised if he surpasses Hilley’s phenomenal singing on Sunday after which the American was cheered to the Gehry-rafters with a real hero’s ovation.

Parterre Box, Christopher Corwin 

The role [Dvořák’s Dimitrij] is a daunting challenge for a heroic tenor. Clay Hilley brought vocal heft, clarion sound and stamina to the role.

The New York Times, Anthony Tommasini

…Hilley has something that very few singers have nowadays and that is he can act with his voice and can captivate audiences once he begins.  For opera houses saying there are no dramatic tenors, look no further as Clay Hilley is a tenor on the rise who needs attention.

Operawire, Francisco Salazar

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