Schubert, Mendelssohn Lieder (arr. Randle) with Consone Quartet
London Chamber Music Society, Kings Place
Seen And Heard International, March, 2019

"The vocal line shone, with an almost Straussian gleam...Keith's commitment to the drama of both text and music was compelling. Singing from memory, she began the sequence standing behind the Consone, and as the songs progressed the soprano moved to the fore, crossed the stage, moved nearer to the instrumentalists, then turned away.  The ‘theatre’ was delivered with a light touch and without affectation."

"The airy string textures in ‘Frühlingsglaube’ (Spring faith) were a perfect support for Keith’s vocal line which glistened with excitement.  ‘Wartend’ (Waiting) was full of drama and restlessness, the urgency of Keith’s sustained cry, “Komme du bald!” (Come soon!), in the central stanza fading exquisitely at the close to fragile hope."

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Love Me To Death (by Tom Randle), Tête-à-Tête Festival, The Place
Planet Hugill, August 20, 2018

"Gillian Keith (looking almost unrecognisable in a blonde wig) moved easily from sexy night-club to battered wife to tragic heroine. In fact, some of the best moments in the opera were the solos that Randle had written for Keith, a poignant one after a battering from Blakeley which helped you understand why she did not leave him, and her final moving monologue from the scaffold."

​

SWAP'a Gala, Opera Holland Park - July, 2018
The Arts Desk

"The real modernism came in a taster of Josephine Stephenson's Les Constellations, une théorie, bewitchingly articulated by Gillian Keith and Caroline MacPhie in perfect accord with Cottis and the orchestra - the most surprising highlight."

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J.S. Bach The Complete Solo Cantatas for Soprano Vol. I with Armonico Consort, Signum Records - June, 2017
Gramophone Magazine

"The jewel in the crown here is the late and woefully under-appreciated wedding cantata, O holder Tag. Over half an hour the soprano is put through her paces in a compendium of technical pyrotechnics and expressive conceits. This could be made for Gillian Keith as she traverses the filigree with seasoned panache and always gloriously instinctive textual nuancing."

"Gillian Keith’s profoundly incisive and intelligent singing"

"...the ensemble speaks as one with intimacy around Keith’s focused timbre and quicksilver diction."

"performed with such sensitivity to text and lightness of texture"

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J.S. Bach The Complete Solo Cantatas for Soprano Vol. I with Armonico Consort, Signum Records - Sept, 2017
Classical Music Magazine

"Keith's light, poised voice is heard to good effect here in this first volume of Bach's cantatas for solo soprano... there is no doubting her commitment"

 

Handel German Arias (CD) with Florilegium, Channel Classics - August, 2017
BBC Music Magazine

"Gillian Keith's performance of the Arias provides delight on many levels. Her responses to text and music are tender, innocent, fragile and vivacious in turn...her attention to detail, the elegance of her ornaments and the lightness of her articulation are rewarding."

 

Los Nacimientos - Buxton International Festival - July, 2017
Buxton Festival Fringe Review

"The playing and singing are, of course, excellent...relish it for the thing of beauty that it is. Treats like this come our way but rarely."

 

J.S. Bach The Complete Solo Cantatas for Soprano Vol. I with Armonico Consort, Signum Records - June, 2017
Planet Hugill

"Vibrant performances of Bach cantatas from Gillian Keith & Armonico Consort"

"Throughout, her diction is admirable and clear, you hardly need the printed text. Keith keeps a light interpretative hand on the music; she conveys meaning with poise, but does not present these pieces as intense devotional music, instead taking the music on its own terms."

"The vibrant quality of her performances is matched by Christopher Monk and his players. I enjoyed these performances immensely..."

 

Handel German Arias (CD) with Florilegium, Channel Classics - May, 2017
Classics Today

"soprano Gillian Keith certainly has the voice–and the stylistic sensibility–for these substantial if under-appreciated gems"

"it’s hard not to be charmed by her straightforward style and youthful tone and temperament"

 

Birthday Concert, St John's Smith Square, London, with George Vass and Orchestra Nova
Classical Source - May, 2017

"Keith was also vibrant, and exact, in Les illuminations...Here singer, conductor and players caught the moods vividly and sensitively"

"All sentiments were intensely conveyed by Gillian Keith"

 

The Formidable Frau - Edinburgh Fringe Festival, with Simon Lepper
Aug.2015

“A wholly engaging and wonderfully entertaining programme performed by two of today’s most accomplished recitalists”

 

Presteigne Festival - Song Recital with Timothy End
Hereford Times - August, 2015

"Soprano Gillian Keith has developed a wide-ranging portfolio of performances in recent years and this recital demonstrated the sheer range of her abilities: early romantic Sibelius songs in Finnish, Judith Weir’s witty settings of 16th century Spanish poems and songs by the American Samuel Barber. She ended her recital with Poulenc’s 1939 songs Fiançailles pour rire, dwelling on the hazards of love. Its bitter-sweet romanticism, composed in a world on the edge of catastrophe, made a powerful end of a most intelligent recital."

 

Presteigne Festival - David Matthews 'Three Housman Songs'
Bachtrack - August, 2015

"Gillian Keith was the silvery-toned soloist"

 

Nielsen Symphony No. 3 'Expansiva', BBC Philharmonic, Bridgewater Hall, Manchester
Manchester Evening News - June 2015

"...surging seas of sound and an open-air evocation of nature (with the human voice, in this case Hanno Müller-Brachmann and Gillian Keith, contributing beautifully)...

 

Debussy: Songs For His Muse - Deux-Elles Records
(Planet Hugill - April, 2015)

"Enlightening and entrancing... full of elfin charm and wit... a complete delight, trills, roulades and all"

 

 "...she sings with great poise and brings a lovely sense of colour and sensitivity...going well beyond simple technical expertise and combining with Lepper to make something really expressive."

 

 

Debussy: Songs For His Muse - Deux-Elles Records

(Classical Music Magazine, February, 2015 - 4*Review)

"Keith's bright, agile soprano is...suited to these"

​

​

The Songbook, Birmingham Contemporary Music Group, Wigmore Hall
(The Guardian, February 2015)

The standard of performance – with sopranos Gillian Keith and Rebecca von Lipinski sharing the vocal honours, and members of Birmingham Contemporary Music Group maintaining concentrated playing under conductor Jonathan Berman – was high.

 

Gloria - A Pigtale, Mahogany Opera Group (Buxton Festival)
Music & Vision  (July 2014)

Gillian Keith’s Gloria is vain, ditzy, but also vulnerable enough to engage our sympathy, throwing off the  mostly high-lying part with apparent ease.

 

Gloria - A Pigtale, Mahogany Opera Group (Linbury Theatre, Royal Opera)
Classical Source (July 2014)

Having sung Zerbinetta on the main Royal Opera House stage, Gillian Keith brought all the vocal facility gained through that experience to realising the role of Gloria as a similar soubrette figure. Naïve, vain and shallow she may be, but it is essentially with her plight that the audience identifies, or at least sympathises. Keith’s singing was admirably secure in wide-ranging lines which recall not only Straussian coloratura, but also the expressionist drama of Schoenberg’s Erwartung or Herzgewächse.

 

Gloria - A Pigtale, Mahogany Opera Group (Linbury Theatre, Royal Opera)
The Observer (July 2014)

Gillian Keith makes a wonderfully empty-headed, though vocally pin-sharp, Gloria

 

Gloria - A Pigtale, Mahogany Opera Group

Opera Magazine (July, 2014)

"...the soprano in the title role...Gillian Keith responds to the challenge superbly. Gloria, we learn later on, is 'the hottest hog in town' (in Amanda Holden's wry translation), a very credible assertion with Keith on board. She handles her frenetically high tessitura with ease and charm, even - whenever Gruber's orchestration thins briefly - floating her tone with finesse.

​

Death Actually, GOT Company, Spitalfields Festival
The Times (June, 2014)

"...three Bach motets, sung brilliantly from memory and with expressive dance-like movements by eight distinguished soloists...Quite apart from the dramatic impact, which was by turns fervent and touching, the level of expertise required to memorise, choreograph and co-ordinate such complex polyphonic music was jaw-droppingly virtuosic."

 

Gloria - A Pigtale, Mahogany Opera, Norwich Playhouse
The Times (May, 2014)

“… the fine soprano Gillian Keith... tirelessly vaults into the vocal stratosphere.”

 

My Dearest Hedgehog, Middle Temple Hall, London
PlanetHugill.com (March, 2014)

"...Keith's sweet-toned lyric soprano combining a fine sense of line with attention to the words, resulting in beautiful but dramatically intent performance"

"...a lovely, pitch-perfect performance from Keith"

"Keith brought great narrative charm to the piece, hinting at the complexity that lay beneath its simple narrative."

 

Handel's Messiah, Symphony Hall Boston 
Boston Classical Review (December 2013)

'Soprano Gillian Keith ably closed out this first third of the oratorio with verve and grace. Her first aria, “Rejoice greatly, O daughter of Zion,” was delivered with a beautifully clear and round tone and an impressive execution of the lengthy ornaments'

'Gillian Keith opened the final part of the Messiah with a lovely rendition of “I know that my redeemer liveth,” whose straightforward melody and long notes showed off her beautiful tone.'

 

Albert Herring‚ Barbican London
Planet Hugill.com (November 2013)

'Gillian Keith was a fluttery‚ nervous and very stylishly dressed Miss Wordsworth and a complete delight in the role’s rhapsodic‚ coloratura passages'

 

Albert Herring‚ Barbican London
The Spectator (November 2013)

'Gillian Keith as Miss Wordsworth‚ the teacher of‚ among others‚ the three children‚ marvellously acted and sung'

 

La Colombe‚ Buxton Festival
Opera Magazine (September 2013)

'...the charming, bright-voiced Gillian Keith'

 

Ottone in Villa, La Serenissima, Buxton Festival
Opera Magazine (September 2013) 

'The servant Tullia was winningly taken by Gillian Keith, deservedly a Buxton favourite.'

 

La Colombe‚ Buxton Festival
BachTrack.com (July 2013)

'Sylvia‚ sung by Gillian Keith‚ displayed the best singing of the evening – coupled with an assured characterisation of the scheming aristocrat‚ her light voice was perfectly suited to the whimsical style of the music'

 

La Colombe‚ Buxton Festival
Guardian (July 2013)

'Gillian Keith sparkles as Sylvia'

 

La Colombe‚ Buxton Festival
Observer on Sunday (July 2013)

'...the tinselly coloratura of the Countess‚ brilliantly dispatched by Gillian Keith‚ is a reminiscence of Marguerite’s bedazzlement when she opens the jewel casket deposited in her garden by the devil'

 

La Colombe‚ Buxton Festival
Telegraph (July 2013)

'Gillian Keith sang with glassy charm'

 

La Colombe‚ Buxton Festival
The Arts Desk.com (July 2013)

'The whole production is splendidly played. Gillian Keith makes an affecting Countess and her coloratura singing is outstanding'

 

La Colombe‚ Buxton Festival
The Times (July 2013)

'Countess Sylvie - Gillian Keith dispatched that part with vigorous silver tones'

 

Ottone in Villa, La Serenissima, Buxton Festival
Manchester Theatre Awards (July 2013)

'Gillian Keith acts her socks off as Tullia, the girl pretending to be a boy, and her singing is always pure and precise.'

 

Exsultate‚ jubilate & Regina coeli‚ Columbus Symphony
The Columbus Dispatch (February 2013)

'Keith has the type of light lyric voice that handles Mozart’s ornate phrases with ease yet still conveys warmth and grace... Keith’s solo in the “Ora pro nobis” section was especially reverent and elegant'

 

Antique Lands‚ Distant Shores‚ Presteigne Festival
Tempo (January 2013)

'Gillian Keith’s vocal artistry graced all three of these very different scores: the flinty menace of the first song and the flamboyance of the second both suited her innate sense of drama‚ while in the last song she was able to draw the audience in with her most enthrallingly intimate and confidential manner'

 

The Fairy Queen‚ Brilliant Classics CD
Opera (October 2012)

'Sharing the soprano honours Gillian Keith‚ whose light-hearted ’Sing while we trip it’ is sheer delight...'

 

Jephtha‚ Buxton Festival
Opera (September 2012)

'...Gillian Keith’s Iphis had real style'

 

Presteigne Festival
Birmingham Post (August 2012)

'Although contemporary music lies at the core of the Presteigne Festival it’s often mainstream works that provide the framework to individual concerts. In Gillian Keith’s recital on Monday afternoon‚ for example‚ Richard Strauss‚ Debussy and Walton separated two groups of songs‚ including one premiere‚ by six very much alive composers. Of these the new work‚ ‘I Travelled among Unknown Men’ by Peter Fribbins‚ offered a refreshingly unpretentious setting of Wordsworth’s poem‚ slight in emotional range‚ but beautifully delivered by Keith. It was good‚ too‚ to revisit three songs from the collaborative ‘A Garland for Presteigne’ of 2003‚ notably Adrian Williams’ vividly programmatic ‘Red Kite Flying‚’ with its wheeling and plunging piano part so brilliantly executed by Simon Lepper. Lepper was equally responsive in Strauss’s ‘Mädchenblumen’ and Debussy’s ‘Poèmes de Paul Verlaine’‚ alert to every nuance of both singer (Keith’s vibrant tone‚ elegant phrasing and facial expressions knowingly communicated the romantic essence of each song) and the music itself; and in James Francis Brown’s ‘Ozymandias’ she demonstrated her versatility by adopting a completely different demeanour – steely‚ dark and moodily brooding'

 

BBC Philharmonic‚ Prom 22‚ Royal Albert Hall
Bachtrack.com (July 2012)

'Soprano Gillian Keith sang with great tone‚ and sparkle to match her bright pink dress...'

 

BBC Philharmonic‚ Prom 22‚ Royal Albert Hall
Classical Source.com (July 2012)

'Gillian Keith effortlessly floated her eerily disembodied high soprano‚ a detached ‘white’ sound that suited the dispassionate bleakness of the poems perfectly'

 

BBC Philharmonic‚ Prom 22‚ Royal Albert Hall
Guardian (July 2012)

'The vocal lines are often stratospherically high (Gillian Keith was the effortless soloist here) floating above orchestral textures that are by turns intricately hyperactive and beguilingly becalmed'

 

BBC Philharmonic‚ Prom 22‚ Royal Albert Hall
MusicOMH.com (July 2012)

'Utilising Japanese musical forms with their combination of repetition and development‚ and various blends of orchestral instruments to create a myriad of textures‚ it proved the perfect vehicle for demonstrating the talents of Gillian Keith. The soprano is required to cover over two octaves‚ and Keith’s mature and beautifully clean sound captured a perfect sense of otherworldliness as befits this meditation on sleeping and dreaming. When her voice hit the highest notes‚ it possessed a direct and yet pleasing metallic quality'

 

BBC Philharmonic‚ Prom 22‚ Royal Albert Hall
Times (July 2012)

'...she nimbly bobbed and weaved among Knussen’s telling evocations of birds‚ rats‚ the woman’s corpse from Plath’s poem Edge‚ and the first slivers of a new day'

 

Jephtha‚ Buxton Festival
Arts Desk.com (July 2012)

'Gillian Keith makes a pert and touching Iphis‚ symbolically appearing in a red coat in this black world and singing of light as she unknowingly faces death'

 

Jephtha‚ Buxton Festival
Times (July 2012)

'Iphis‚ his daughter‚ ever more Pollyanna-esque in the chirruping soprano of Gillian Keith — until‚ that is‚ she appears in scarlet coat as sacrificial victim'

 

Gillian Keith: bei Strauss CD
Musicweb International (April 2012)

'From the beginning the quality of her clear‚ light‚ lyrical voice is apparent‚ and she controls it marvellously‚ literally breathing life into phrases with thoughtful air control...she is thoroughly convincing and communicates the emotional content of the poet’s text and Strauss’s ravishing music to great effect...she brings plenty of apt emotion to Strauss’s settings‚ tastefully understated and always resolutely supported by Simon Lepper’s near-immaculate piano...she has exactly what it takes‚ with Lepper’s help‚ to make her interpretation much as good as it gets'

 

Mozart & Bach‚ Northern Sinfonia‚ Sage Gateshead
Bachtrack.com (April 2012)

'Gillian Keith set the scene with an exuberant performance of Mozart’s Exsultate‚ Jubilate‚ which she sang with a decidedly cheeky twinkle. Originally written for the Italian castrato Venanziano Rauzzini when Mozart was still only seventeen‚ it’s a piece that has to be sung with an immense sense of fun‚ and soloist and orchestra under the direction of Simon Halsey delivered plenty of that... Gillian Keith sang the recitative-like Fulget amica dies with firm conviction‚ and the Tu‚ virginum corona was simple and lyrical...the unaccompanied passages were delightful and her top C at the end was delivered with panache...'

 

La Resurrezione‚ Ars Lyrica Houston
Arts and Culture Magazine Houston (March 2012)

'Canadian soprano Gillian Keith stole the show from the first scene...she captured the full attention of the audience from her first strut onto the stage. I‚ for one‚ was so mesmerized by her performance that it did not even occur to me to read the supertitles. Nor did I even have to in order to gather the meaning of the words‚ for Keith has that rare ability to communicate the emotion of the text through her extraordinary vocal expressivity and lyricism'

 

Silete Venti‚ The Sixteen‚ New Zealand Arts Festival
Capital Times.nz (March 2012)

'In the first half Canadian soprano Gillian Keith joined the orchestra for the early motet Silenti venti. She is an assured artist who sang with great communication and sense of style'

 

Silete Venti‚ The Sixteen‚ New Zealand Arts Festival
Stuff.co.nz (March 2012)

'Canadian soprano Gillian Keith revealed herself to be a singer of rare distinction‚ with a wonderfully secure technique and a pure quality of voice‚ ideal for Handel'

 

Messiah‚ Calgary Philharmonic Orchestra
Calgary Herald (December 2011)

'Gillian Keith brought a coloratura soprano’s personality to the soprano solos‚ the voice light and highly flexible‚ with tasteful ornaments and a "speaking" way of singing consistent with Taurins’ conception of the work as whole. As might be expected she sang the socks off the runs in Rejoice Greatly and was also expressive in I Know that my Redeemer Liveth.

 

Gillian Keith: bei Strauss CD
American Record Guide (October 2011)

'Soprano Gillian Keith‚ who took a degree in piano performance from McGill University‚ here proves herself to be a superb interpreter of Richard Strauss’s lieder. This is one of the best Strauss recital albums since Soile Isokoski’s memorable traversal of the orchestral songs for Ondine (Sept/Oct 2002). She has power a-plenty‚ but even more impressive are her perfectly gossamer pianissimos'

 

Gillian Keith: bei Strauss CD
Opera Canada (October 2011)

'PART I: Toronto-born lyric soprano Gillian Keith comes across as one of the most versatile artists on the current classical circuit. Her crystal-clear‚ transparent tones grace several discs in John Eliot Gardiner’s "Bach Pilgrimage" series of cantatas‚ and she has appeared frequently in performances under other original-instrument maestros. But Keith is equally at home in Classical‚ Romantic and modern music‚ and has won praise for her Zerbinetta‚ having made her Covent Garden debut as that stratospheric "Ariadne auf Naxos" character. She turns again to Strauss for this recital‚ which takes its cheeky title from Gershwin’s song "By Strauss" (it referred to the “other” Strauss‚ of course). Included are four complete groups "Mädchenblumen‚ op. 22‚ Fünf Lieder‚ op. 48‚ Drei Lieder‚ op. 69" and "Drei Lieder der Ophelia‚ Op.67") plus a number of miscellaneous songs‚ including the popular "Ständchen" and "Muttertänderlei." Keith’s high‚ bright voice and perfect enunciation are ideal for Strauss. Although small in size‚ her instrument recalls that of Elisabeth Schumann‚ whom Strauss often referred to as ideal for his music'

 

Gillian Keith: bei Strauss CD
Opera Canada (October 2011)

'PART II: The highlights for me are the "Ophelia Lieder"‚ to texts from "Hamlet". These are unique in Strauss’s canon‚ with oddly captivating accompaniment that borders on atonality‚ and they are not often performed (Elisabeth Schwarzkopf and Glenn Gould recorded them in a luscious rendition‚ although she was not pleased with her partner’s eccentricities). The first song‚ "Wie erkenn’ ich mein Treulieb‚" is eerie in its depiction of the deranged Ophelia; the second‚ "Guten Morgen‚ ’s ist Sankt Valentins Tag‚" frantically shows the manic‚ chattering Ophelia‚ singing a mile a minute about absolutely nothing; and the third‚ "Sie trugen ihm auf der Bahre‚ bloss‚" is marked by dreamlike‚ long lines. Keith turns in some beautiful singing here. "Malven‚" one of Strauss’s late songs‚ was discovered only in the 1980s and first recorded by Eva Marton and the Toronto Symphony under Andrew Davis. Keith navigates perfectly its wide range‚ perilous leaps and jagged contours. The "Mädchenblumen" set (in spite of silly texts by Felix Dahn) and the op. 48 set are equally delectable. In the latter‚ "Freundliches Vision" is blessed with a hushed stillness‚ and Keith’s performances of that group’s final two‚ winter-themed songs are especially moving. Accompanist Simon Lepper offers sensitive support throughout'

 

Gillian Keith: bei Strauss CD
Gramophone (August 2011)

'...impressive...Gillian Keith reveals their melodic memorability. She is at her finest in ’Freundliches Vision’ (Op 48) and is quite charming in ’Schlagende Herzen’...Keith is best suited to the three ’Ophelia’ songs'

 

Mignon‚ Buxton Festival
Financial Times (July 2011)

'...while Gillian Keith profiled the man-eating Philine as Zerbinetta’s alter ego'

 

Mignon‚ Buxton Festival
Guardian (July 2011)

'Gillian Keith’s Philine gets a big production number for her giddy coloratura Polonaise'

 

Mignon‚ Buxton Festival
Opera Today (July 2011)

'the star of the show was undoubtedly‚ and fittingly‚ Gillian Keith as the dazzling diva‚ Philine. Keith relished the giddy theatricality of her show-stopping Polonaise and despatched the coloratura of ‘Je suis Tytania’ with aplomb. Her dressing-room door appropriately sported a glittering star; and it was no surprise that her excessive luggage required the heft of several strapping chaps to hoist it onto the departing train'

 

Mignon‚ Buxton Festival
Oxford Times (July 2011)

'It is set amid a theatrical background not dissimilar to that presented in Richard Strauss’s Ariadne auf Naxos‚ with a prima donna of a leading actress dazzlingly depicted by coloratura soprano Gillian Keith'

 

Mignon‚ Buxton Festival
Seen & Heard International (July 2011)

'Gillian Keith’s floozy Philine was outstanding in all respects‚ her silvery coloratura soprano complementing her acting'

 

Mignon‚ Buxton Festival
Stage (July 2011)

'Gillian Keith sparkles as the coloratura-flaunting actress Philine'

 

Florilegium‚ The Israel Festival
Jerusalem (June 2011)

'This is also the work which brought to the stage the wonderful Canadian soprano‚ Gillian Keith. Keith has a clean and uniquely personal soprano. She was born to sing Baroque. Unlike some opera singers who stand firm on the ground and burst forth in full throat‚ Keith does not "open" her voice. She lets it "cook" in between her smile and her chest‚ and produces it with measured restraint‚ fully in control‚ and with much beauty. Her voice is magical and pure‚ it combines wonderfully with the measured and clean sound of Florilegium...the audience gave ourselves up willingly to the delights of Gillian Keith’s captivating voice‚ and the captivating sound of Florilegium. And for that‚ our heart gladdens'

 

Gillian Keith: bei Strauss CD
BBC Radio 3 CD Review (June 2011)

'Glistening‚ ethereal soprano...Keith has the light as a feather delicacy needed for ’Ständchen’...'

 

Gillian Keith: bei Strauss CD
My Classical Notes.com (June 2011)

'Strauss displayed a consistent ability to bring out the best in a singer‚ and soprano Gillian Keith – accompanied here by pianist Simon Lepper – beautifully present Strauss’ unique reverence for the female voice'

 

Toronto Mendelssohn Choir‚ Koerner Hall 
Globe & Mail (May 2011)

'A vocal quartet drawn from the choir served adequately as soloists. However‚ in Psalm 117‚ Laudate Dominum‚ another singer suddenly appeared on stage‚ and things started to get interesting. She was Gillian Keith‚ whose lyric soprano voice wafted prettily over the choir and orchestra. Her appearance was an enticing foretaste of things to come...the following Gloria brought Keith back to the stage for a more extended appearance. Her performance became ever more remarkable as the work progressed. Her lengthy coloratura solo in the Credo was both delightful and astounding as she leapt with agility through every vocal hoop in her path. (It’s likely that Mozart wrote the part for his wife‚ Constanze‚ to sing – and evidently she was no slouch.) Keith’s voice is perfectly suited to this repertoire‚ and to this hall'

 

Punch and Judy‚ Grand Théâtre de Genève
Anaclase.com (April 2011)

'...à l’habile Gillian Keith en Pretty Polly fabuleusement hystérique'

 

Ariadne auf Naxos‚ Welsh National Opera
Opera (December 2010)

'They were clearly enthralled by their Zerbinetta‚ the gracefully poised Gillian Keith‚ making her company debut. She was in sparkling voice‚ but also communicated the instinctive feminine wisdom that‚ for all the surface good-time-girl frivolity‚ is Zerbinetta’s saving'

 

Ariadne auf Naxos‚ Welsh National Opera
Guardian (October 2010)

'Gillian Keith’s lithe‚ pert Zerbinetta is key to their chemistry‚ as well as to the little frisson with the Composer'

 

Ariadne auf Naxos‚ Welsh National Opera
Observer on Sunday (October 2010)

'Gillian Keith fizzed skittishly and effortlessly as Zerbinetta'

 

Ariadne auf Naxos‚ Welsh National Opera
Opera Britannia (October 2010)

'Zerbinetta is a total joy in this production. Gillian Keith is perfectly at home in this flighty characterisation‚ but she also adds weight to the role in her middle range‚ before soaring through her coloratura hurdles which she races through with ease‚ right up to the very high F'

 

Ariadne auf Naxos‚ Welsh National Opera
Opera-Britannia.com (October 2010)

'...her portrayal is superbly crafted with daintiness‚ tenderness .....she is a class act in this genre'

 

Ariadne auf Naxos‚ Welsh National Opera
Seen & Heard International (October 2010)

'...a fine cast of comedians led by Gillian Keith’s perky Zerbinetta and with truly excellent acting from all of the principals...Gillian Keith’s Zerbinetta was pretty‚ engaging and remarkably flexible physically - how many other sopranos can get their toes over their heads while standing on one foot? Her singing was all that could be hoped for in this role...she is a hugely competent singer and actor'

 

Ariadne auf Naxos‚ Welsh National Opera
Telegraph (October 2010)

'WNO’s staging is given vivacity and energy by an exceptionally strong‚ well-integrated cast of considerable vocal distinction...Gillian Keith tossed off Zerbinetta’s stratospheric coloratura antics without turning a hair'

 

Ariadne auf Naxos‚ Welsh National Opera
The Arts Desk.com (October 2010)

'...Gillian Keith as Zerbinetta subtly colours her flirtatiousness with the sort of profundity that lurks in the eyes and voices of pretty girls but vanishes in an “Augenblick”‚ as she admits – the flash of a spider’s eye...Keith dispatches the whole thing with coquettish brilliance'

 

Ariadne auf Naxos‚ Welsh National Opera
Theatre-Wales.co.uk (October 2010)

'Gillian Keith has made Zerbinetta into a role of her own‚ including a much-praised Chandos recording released last month. Her first act Zerbinetta‚ in silk print kimono‚ is seductive‚ coquettish but confides to the Composer‚ in a wonderful two-part soprano‚ that beneath her carapace of gaeity she too knows sadness.'

 

Ariadne auf Naxos‚ Welsh National Opera
Wales Online (October 2010)

'The cast is excellent with gorgeous singing and accomplished acting including the slapstick comedy that brought the show to life without descending into farce...There are thrilling duets: Canadian soprano Gillian Keith sprightly and endearing as Zerbinetta and Sarah Connolly in the trouser role of the Composer...Each reminds us just how wonderful the dynamic excesses of Strauss can be'

 

The Indian Queen‚ The Sixteen at Edinburgh International Festival
Opera Critic.com (August 2010)

'...the god of dreams conjured from underground is none other than soprano Gillian Keith. Her advice to the Queen‚ who has sought out the conjurer- ’Seek not to know what must not be reveal’d’ - was delivered with excellent diction...Then‚ the two sopranos had their turn as Aerial Spirits with the chorus‚ followed by the well-known soprano air ’ I attempt from love’s sickness to fly in vain‚’ sung beautifully by Gillian Keith'

 

Ariadne auf Naxos‚ Opera di Oviedo
La Nueva Espana (September 2009)

'Katharine Goeldner‚ Gillian Keith y Emily Magee‚ o lo que es lo mismo‚ el compositor‚ Zerbinetta y Ariadne‚ conquistaron anoche al público del Campoamor en el estreno ovetense de "Ariadne auf Naxos" ...Sobre ella recayó todo el peso dramático de la función‚ en contraste con la vis cómica y la exhibición vocal de Gillian Keith‚ que dio vida a Zerbinetta. Con una caracterización griega la primera‚ y de payaso la segunda‚ las dos ofrecieron en la segunda parte y a jucio del público los mejores momentos de una velada calurosa‚ en la que los programas de mano sirvieron de improvisados abanicos.'

 

Ariadne auf Naxos‚ Opera di Oviedo
La Nueva Espana (September 2009)

'Triunfó Gillian Keith como Zerbinetta. En la escena la aportación a ese personaje tan arquetípico de estrella segundona siempre a la caza de su gran oportunidad fue impecable. Vocalmente funcionó en la zona aguda -aunque algo justa en algún sobreagudo- enfrentándose con autoridad a la endiablada aria «Grossmächtige Prinzessin!»‚ uno de los pasajes de coloratura de mayor dificultad de todo el repertorio operístico.'

 

Ariadne auf Naxos‚ Opera di Oviedo
La Voz de Asturias (September 2009)

'Fue la más aplaudida por el público junto a Gillian Keith‚ en una velada acogida con bastante frialdad‚ en parte por el estilo de Strauss‚ pero también porque el nivel no consiguió levantar a la gente de sus butacas. Keith fue una gran Zerbinetta en un papel dificilísimo. En escena estuvo perfecta‚ por su jovialidad‚ acusada comicidad y dotes interpretativas. Incluso ayudó su muy apropiado físico. En lo lírico logró colmar las expectativas del personaje‚ llegó al difícil RE sobreagudo y a su MI floreado desenvuelta y con holgura‚ y aún así‚ todavía el personaje dio la sensación de necesitar algo más de exquisitez expresiva.'

 

Ariadne auf Naxos‚ Opera di Oviedo
La Voz de Asturias (September 2009)

'El reconocimiento del público en este primer título de la temporada lírica ovetense tuvo que esperar al segundo acto‚ siendo las más aplaudidas Gillian Keith‚ en su papel de Zerbinetta‚ y Katharine Goeldner‚ en su interpretación del compositor. '

 

The Fairy Queen‚ Edinburgh International Festival
Opera Critic.com (September 2009)

'Gillian Keith’s singing was apparently effortless‚ top notes rippling out and maintaining crisp diction. In The Plaint‚ her Act V duet with leader Walter Reiter‚ accompanied by Frances Kelly on harp and David Miller on baroque guitar‚ she was distraught and‚ at the end‚ singing through tears'

 

The Fairy Queen‚ Edinburgh International Festival
The Telegraph (September 2009)

'...with a fine chorus and soloists of the calibre of James Gilchrist‚ Iestyn Davies and Gillian Keith (who sang “O let me weep” to perfection)‚ this adorable score was as well – if not better – served than it had been at Glyndebourne this summer. '

 

L’incoronazione di Poppea‚ Boston Early Music Festival
Boston Globe (June 2009)

'an appealing Poppea‚ kittenish and conniving as needed‚ singing with a pure tone and an agile technique. '

 

L’incoronazione di Poppea‚ Boston Early Music Festival
Boston Phoenix (June 2009)

'Canadian soprano Gillian Keith is an ideal Poppea — she has the sexy moves of a dancer‚ and a silkily pretty voice‚ and every stylized gesture seems to come from some inner impulse. '

 

L’incoronazione di Poppea‚ Boston Early Music Festival
Examiner (June 2009)

'(Gillian) Keith filled the role of the lubricious Poppea very nicely with an angelic lyricism that belied the character’s true nature'

 

L’incoronazione di Poppea‚ Boston Early Music Festival
New York Times (June 2009)

'The charm of Gillian Keith’s Poppea was that she phrased thoughtfully and used her soprano with such warmth that you were nearly as seduced by her character as Nerone was. She was more than a match for Nerone'

 

L’incoronazione di Poppea‚ Boston Early Music Festival
Times Union (June 2009)

'As Poppea‚ the petite soprano Gillian Keith had gossamer upper notes...her entire range took on a increasing glow as her character succeeded in getting her way'

 

Toronto Symphony
Toronto Star (December 2008)

'but only Keith emerged a paragon of carefully crafted expression…..

As was the case with Keith’s singing‚ the visual effects never drew attention to themselves. Instead‚ they worked to enhance a tried-and-tested Christmastime treat.'

 

Irish Chamber Orchestra
Irish Examiner (September 2008)

'Canadian soprano Gillian Keith gave a most arresting‚ totally committed‚ utterly convincing‚ almost operatic performance of Bach’s Cantata BWV 199‚ Mein Herze schwimmt in Blut.'

 

Presteigne Festival
The Birmingham Post (August 2008)

'Gillian Keith brought gentle charisma to her creamy‚ articulate delivery of the soprano solos in Finzi’s Dies Natalis‚ Vass drawing from his strings all the piercing wonderment of this visionary score.'

 

Ariadne auf Naxos‚ Royal Opera House
Seen & Heard International (July 2008)

'The July 1st closing performance of the Royal Opera House’s Ariadne auf Naxos‚ by Richard Strauss‚ was completely full. Word must have spread. The singing was uniformly fine – no‚ better than fine‚ in fact‚ superb – as was most of the acting. The second part‚ the actual Ariadne opera‚ was a triumph for Gillian Keith as Zerbinetta‚ whose foxy acting was every bit as good as her spectacular coloratura singing. She was humorous and fun to hear and watch.'

 

Ariadne auf Naxos‚ Royal Opera House
The Financial Times (June 2008)

'Gillian Keith’s fetching Zerbinetta dances over her fiendish coloratura like a pixie'

 

Ariadne auf Naxos‚ Royal Opera House
The Independent (June 2008)

'And Keith’s Zerbinetta really gives dramatic purpose to her high-popping coloratura tirade against faithless men. The pathos of her final line‚ "When a new god arrives we surrender"‚ really rings true for once'

 

Ariadne auf Naxos‚ Royal Opera House
The New York Times (June 2008)

'Gillian Keith illuminated Zerbinetta’s coquettishness with perky flair...She nimbly scaled the coloratura heights of her showpiece aria'

 

Ariadne auf Naxos‚ Royal Opera House
The Sunday Observer (June 2008)

'But the eye cannot help wandering throughout to Gillian Keith‚ in her main house debut as the most beguiling Zerbinetta‚ a frisky little punk temptress more than equal to the composer’s fiendish coloratura demands'

 

Ariadne auf Naxos‚ Royal Opera House
The Sunday Times (June 2008)

'Earlier in the opera‚ Gillian Keith‚ got up to look like Twiggy as if dressed by Mary Quant‚ negotiated the coloratura terrors of Zerbinetta’s grand scena nimbly and coquettishly'

 

Ariadne auf Naxos‚ Royal Opera House
The Telegraph (June 2008)

'More consistently impressive was Gillian Keith’s gamine Zerbinetta‚ swinging insouciantly but accurately through some dazzling vocal acrobatics'

 

Ariadne auf Naxos‚ Royal Opera House
The Times (June 2008)

'That’s one major feature of this revival. The other is Gillian Keith’s dazzling debut on the Covent Garden stage as Zerbinetta‚ the good-time showgirl who is as easy-virtued as Ariadne is staunchly monogamist. No need for any nip-and-tuck surgery on Ms Keith. She must have the trimmest figure and best legs in opera‚ and she flashes plenty of both as her troupe of dissolute lowlifes crashes into the highbrow opera...Keith rises with terrific verve to the challenge of Zerbinetta’s fiendish coloratura aria‚ gradually turning the trills and cascades from expressions of self-mockery into self-loathing'

 

Ariadne auf Naxos‚ Royal Opera House
This is London (June 2008)

'Keith‚ making her mainstage début‚ is in vocal terms‚ too‚ an impressively agile coloratura soprano‚ secure in the stratosphere'

 

Ariande auf Naxos‚ Royal Opera House
MusicalCriticism.com (June 2008)

'As Zerbinetta‚ Canadian soprano Gillian Keith‚ recently seen in Birtwistle’s Punch and Judy at the Young Vic‚ put in a clean and secure vocal performance‚ and acted excellently throughout'

 

Punch & Judy‚ English National Opera
Opera (June 2008)

'Lyricism arrived at last in the final scene‚ when Gillian Keith sang Pretty Polly’s lines with sweet purity of tone'

 

Bach Cantatas CD
Opera Today (April 2008)

'Gillian Keith is one of the high points of the recording. The opening aria of “Süsser Trost‚” BWV 151‚ is an aria rich in peaceful affection and intricate decoration. Keith brings to her rendition an exquisite control‚ especially noticeable in her long notes of unusual purity. And with the counterpoint of Rachel Beckett’s sensitive flute playing‚ the aria is simply stunning'

 

Punch & Judy‚ English National Opera
Stage (April 2008)

'Gillian Keiths mesmerisingly ditzy Pretty Polly.'

 

Punch & Judy‚ English National Opera
Sunday Times (April 2008)

'Keith not only looked the part - young‚ sweet‚ yet capable of the most sexually provocative behavior – but displayed astonishing vocal virtuosity. In June of this year Keith will take the part of Zerbinetta in Richard Strauss’ Ariadne auf Naxos at the Royal Opera. On the present evidence‚ Strauss’ part could have been written for her. The final pages of Punch and Judy‚ a love duet for Polly and Punch‚ were extraordinarily powerful.'

 

Punch & Judy‚ English National Opera
Telegraph (April 2008)

'Gillian Keith (Polly) … steer along Birtwistles angular vocal lines with absolute assurance.'

 

Punch & Judy‚ English National Opera
TheOperaCritic.com (April 2008)

'The cast as whole is a marvel of teamwork and dedication …and one recalls…Gillian Keiths stratospheric reach.'

 

Punch & Judy‚ English National Opera
ThisIsLondon.co.uk (April 2008)

'The six-strong cast was impeccable… Gillian Keiths goldilocks-vamp Pretty Polly.'

 

Punch & Judy‚ English National Opera
Times (April 2008)

'A fired-up cast helped. Gillian Keith turned Pretty Polly‚ the Lolita-like object of Punchs desire‚ into a kind of hyperactive go-go dancing doll‚ full of lascivious wriggles and demented coloratura swoops.'

 

The Fortunes of King Croesus‚ Opera North
Early Music Today (January 2008)

'The two most sensational performances came from Gillian Keiths heart-tugging Median princess.'

 

The Fortunes of King Croesus‚ Opera North
Opera (December 2007)

'The star turn was unquestionably Gillian Keiths crystalline Elmira‚ engagingly distressed and completely in control of her coloratura‚ notably in one aria that foreshadows Rossini.'

 

The Fortunes of King Croesus‚ Opera North
The Tablet (November 2007)

'Elmira is sung by Gillian Keith‚ a soprano unbeatable for purity of tone‚ control and a kind of soaring serenity.'

 

The Fortunes of King Croesus‚ Opera North
Guardian (October 2007)

'Gillian Keith shines as his lover Elmira.'

 

The Fortunes of King Croesus‚ Opera North
Independent (October 2007)

'It is Gillian Keith‚ as the heroine Elmira‚ in love with Atis‚ who – with her luminous sound‚ exquisite ornamentation and attractive stage presence – captures her character to perfection.'

 

The Fortunes of King Croesus‚ Opera North
Sunday Express (October 2007)

'Gillian Keith as Elmira‚ in love with Atis‚ has an exquisite bell-like tone.'

 

The Fortunes of King Croesus‚ Opera North
The Stage (October 2007)

'Providing the romantic interest for Atis is the sweetly toned Gillian Keith.'

 

The Fortunes of King Croesus‚ Opera North
Times (October 2007)

'A convincingly fraught Gillian Keith‚ clear as a bell in her passagework.'

 

The Fortunes of King Croesus‚ Opera North
Yorkshire Post (October 2007)

'…an evening of unqualified triumph. Silvery of texture‚ technically immaculate‚ she is a singer of enormous potential.'

 

Paul Bunyan‚ Bregenz Festival
Financial Times (August 2007)

'Dulcet-toned.'

 

Ariodante‚ Halle
Opernglas (June 2007)

'The Canadian Gillian Keiths youthful movement and sensuality more than amply qualifies her for the role of Ginevra. Her bell-like tone projected with apparent ease shows her complete mastery of the Baroque style.'

 

The Assassin Tree‚ ROH2
Opera (October 2006)

'I liked Gillian Keiths pristine‚ sensuous Diana.'

 

The Assassin Tree‚ ROH/Scottish Opera
Independent (September 2006)

'Gillian Keith makes a girlish Diana‚ her ruthlessness (All my husbands are murdered; all my lovers have killed) tempered by a creamy lyric voice‚ her movement partly Isadora Duncan‚ partly torch-song. '

 

The Assassin Tree‚ ROH/Scottish Opera
Sunday Times (September 2006)

'...the excellent cast — led by Gillian Keith as a merciless‚ high Diana.'

 

The Assassin Tree‚ ROH2
Musical Pointers (September 2006)

'Gillian Keith sang very beautifully.'

 

The Assassin Tree‚ ROH2
MusicOMH.com (September 2006)

'Gillian Keith as Diana looked every bit as seductive as the character demands...her steely soprano penetrated through the Linbury Theatre.'

 

The Assassin Tree‚ ROH/Scottish Opera
Financial Times (August 2006)

'I liked Gillian Keiths pristine‚ sensuous Diana.'

 

The Assassin Tree‚ ROH/Scottish Opera
Guardian (August 2006)

'Gillian Keith is a vocally and physically powerful Diana.'

 

The Assassin Tree‚ ROH/Scottish Opera
The Opera Critic (August 2006)

'Diana‚ sung beautifully by Gillian Keith.'

 

The Assassin Tree‚ ROH/Scottish Opera
The Scotsman (August 2006)

'Gillian Keith soars beautifully as Diana.'

 

JS Bach’s Wedding Cantata‚ Tafelmusik
Toronto Star (April 2006)

'Keith is an ideal Bach soprano. She has a clear‚ light and agile voice as well as a keen sense for shaping a phrase…her musicality came to life. Her performance of the short and sweet Cantata No. 51 could not have been more sensitive.'

 

A Midsummer Night’s Dream‚ ROH
Financial Times (December 2005)

'Among the best singers were Gillian Keiths Tytania‚ spinning a web of delicate vocal lines'

 

A Midsummer Night’s Dream‚ ROH
The Times (December 2005)

'Just as riveting is Oberons fraught yet besotted relationship with Gillian Keiths golden curled‚ feline Tytania. Vovally they are thrilling together.....She is a revelation: her customary coloratura precision complemented by a volptuous bloom. The stately final chorus in which they lead the excellent Tiffin Boys Choir through one of Brittens most hypnotic tunes is mesmerising'

 

A Midsummer Night’s Dream‚ ROH
The Guardian (November 2005)

'Towers and Keith‚ rarely bettered‚ both sounded genuinely supernatural'

 

Ascanio in Alba‚ Buxton Festival
Opera (October 2005)

'Gillian Keith sang most beautifully as Sylvia.'

 

Ascanio in Alba‚ Buxton Festival
Guardian (July 2005)

'...the excellent Gillian Keith. '

 

Ascanio in Alba‚ Buxton Festival
Stage (July 2005)

'Gillian Keith delivers it with an easeful grace‚ indeed sings throughout with a peerless musicality‚ spinning a limpid legato which ravishes the senses. '

 

Ascanio in Alba‚ Buxton Festival
Sunday Times (July 2005)

'...the impressive Gillian Keith. '

 

Ascanio in Alba‚ Buxton Festival
Times (July 2005)

'Gillian Keith made absolutely the most of the role of Sylvia‚ singing with a kind of angelic accuracy of note and sentiment. '

 

Hercules‚ The Sixteen
Oxford (June 2005)

'I also admired Gillian Keiths lively delivery of Ioles arias. with their fearsome semiquaver runs. The Canadian soprano has always had an agile technique; now there is much more colour in the voice and character in the interpretation. '

 

Hercules‚ Buxton
Financial Times (July 2004)

'Gillian Keith was fresh‚ musical and appealing. '

 

Hercules‚ Buxton
Guardian (July 2004)

'The cast is distinguished by two brilliantly matched sopranos in Yvonne Howard and Gillian Keith....Keith and Howard provide the voices of innocence and experience; Keiths tone as pure and fresh as the water that bubbles up so plentifully around these parts...This is baroque singing and playing of the highest order.'

 

Hercules‚ Buxton
Times (July 2004)

'Gillian Keith as Iole‚ her bright-voiced foil‚ sang with gentleness and pathios. '

 

Mozart Mass in C Minor - The Sixteen‚ Barbican
Camden New Journal (July 2004)

'Of all the soloists it was soprano Gillian Keith who really came alive in the mass with simply sublime singing. Her voice was pure‚ clear and sensitive and she had the audience transfixed in the Et Incarnates Est. '

 

Alexander’s Feast‚ Mostly Mozart Festival‚ Barbican
Guardian (July 2003)

'Gillian Keiths sparkling soprano solos were a highlight from the start. '

 

Alexander’s Feast‚ Mostly Mozart Festival‚ Barbican
Independent (July 2003)

'Each time the young Canadian singer Gillian Keith opened her mouth‚ the music seemed to soar to another plane. What a lovely voice: fresh‚ so well focused and awesomely tuned. '

 

Haydn concert‚ Wigmore Hall
Times (May 2003)

'Her secure‚ open tone provided many pleasures. '

 

Orfeo Ed Euridice‚ Scottish Opera
Independent (December 2002)

'Gillian Keith‚ with her sweet little pipe‚ as Amor‚ was excellent. '

 

Handel‚ Almeida
Opera Now (November 2002)

'The conductor... knew his business‚ as did all the solo voices and especially the soprano Gillian Keith: a singer of distinction‚ charm and clarity. '

 

Triumph of Time and Truth / Aldeburgh Festival
Opera (August 2002)

'Gillian Keiths light yet luscious coloratura was a highlight. '

 

St John Passion‚ English National Opera
Opera (May 2002)

'The soprano Gillian Keith...singing out with beautifully clear‚ bell-like tone. '

 

Handel Gloria / Vivaldi Gloria‚ Philips recording
BBC Music (January 2002)

'Gillian Keith turns in a lightly articulated and agile performance and possesses an alluring vocal timbre.'

 

Handel Gloria / Vivaldi Gloria‚ Philips recording
Daily Mail (January 2002)

'Gillian Keith matches the great Emma Kirkby. '

 

Handel Gloria / Vivaldi Gloria‚ Philips recording
International Record Review (January 2002)

'Keiths assured and sensitive handling of the vocal line throughout enhances that sense of grand design...at the heart of of Handels best works. Keith is as finely attuned as Gardiner to the interplay of exuberance and pensiveness. '

 

Wigmore Hall concert‚ Classical Opera Company
This is London (January 2002)

'A concert of music from the time of the Mozart familys visit here in 1764-5 with Canadian soprano Gillian Keith singing arias by Arne‚ JC Bach and the lad himself... she sang with easy brilliance‚ thrilling in Mozarts Per pieta with the silky tone of her top notes. '

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