American heldentenor Clay Hilley was sensational in the title role, which is a notoriously long and difficult sing. His voice is voluminous, yet he never pushes it beyond its limits, producing virile tone throughout the long evening, with plenty in reserve for the taxing ‘Rome Narration’ in the last act.

Music OMH, Keith McDonnell

The most outstanding soloist is – fortunately – the most sought-after. With Clay Hilley, the OSM has found – a rare occurrence – an authentic Wagnerian tenor, who recently sang Tristan in Bayreuth. As Valdemar, the cursed king of the score, the American deploys a voice as velvety as it is virile…

Actual News Magazine

La distribution vocale chargé de porter le récit était, à une exception près, extraordinaire. À tout seigneur tout honneur, rendons grâce au ténor héroïque Clay Hilley qui nous a offert une interprétation très inspirée, faite à la fois d’une fragile tendresse (Waldemar mit Tove Stimme et Du wunderliche Tove, bouleversant), de furie et de rage (Roß!, mein Roß! et Herrgott weißt du Waldemar  même si l’orchestre était souvent trop fort) et qui n’a jamais placé sa partition entre le public et lui. Son instrument vocal est un trésor rare qui combine à la fois des graves au timbre barytonal, un médium lyrique souple et des aigus dramatiques qui se déploient autant dans une douceur frémissante que dans une puissance au cuivre doré.

Ludwig van Montreal, Julien Bilodeau

Clay Hilley aussi n’hésite pas à souligner l’évolution de son personnage : de l’ignorant initial que son timbre clair rapproche immédiatement de Siegfried, la métamorphose est spectaculaire après le baiser de Kundry. S’il n’offre jamais les moirures d’un Siegmund, la vérité et la solidité technique de son chant font jouer à plein les ressorts de la partition pour émouvoir au terme de la représentation et faire du héros le photophore de l’avenir.

Forum Opera, Guillaume Saintagne

Stamina, high spirits, and a golden instrument made Clay Hilley’s Siegfried a resounding success…American heldentenor clearly had fun swaggering around the stage displaying a madcap arsenal of gestures, postures, and costume changes demanded by Herheim’s hyperactive directorial concept. And in keeping with Herheim’s collaging of historical performances, Hilley was here clad as super-tenor Lauritz Melchior’s 100 years earlier…Hilley did rise to the occasion, top notes ringing in his love duet with his sleeping beauty. Here again, the almost impossible beauty of Wagner’s music, as Siegfried discovers the sleeping Brünnhilde, becomes a living creature in Runnicles hands. The hypnotic chromaticism, the re-invention of the previous themes, Siegfried’s final aria “Sangst du mir nicht”—come alive with Wagner’s evolving leitmotifs.

Opera Wire, Christina Waters

D’une voix d’acier, Clay Hilley franchit les obstacles dressés sur les pas de Siegfried avec une endurance admirable. Heldentenor évidemment, sans la brutalité que l’on associe parfois à cette typologie, élégant au contraire, attentif au texte, sa clarté, son phrasé, avec pour seul talon d’Achille, un aigu parfois serré – non que la note soit imprécise ou extraite au forceps mais on devine alors des limites sinon imperceptibles. Ultime exploit : le duo final, inéquitable en ce qu’il confronte une soprano au saut du lit à un ténor soumis quatre heures durant à rudes épreuves n’accuse aucun déséquilibre.

Forum Opera, Christoph Rizoud

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

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

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

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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Amazon | Presto Classical

Amazon | Presto Classical

Amazon | Presto Classical