Kieran White

Tenor

“Kieran White delivered the “lullaby” with heart stopping beauty”

Owen Davies, Plays to See, January 2019

About

The English tenor, Kieran White graduated from The Royal Academy of Music achieving a Masters with Distinction

As a soloist, Kieran works with many of the top leading ensembles in the UK and Internationally, including Amsterdam Baroque, in the Netherlands and Edvard Grieg Kor in Norway. He also performs with the Monteverdi Choir under John Eliot Gardiner, and Copenhagen Soloists in Denmark. In 2018 he toured Bach’s Johannes Passion with Ton Koopman and Amsterdam Baroque, performing across Europe. In 2017 he toured Bach’s Matthäus Passion

He is particularly passionate about music from 16th, 17th and 18th Century, predominantly Bach’s Johannes & Matthäus Passion Evangelists, recently performing in a number of venues across the United Kingdom and Europe.

Kieran is an experienced Oratorio soloist and, notably, has performed Bach’s Weihnachtsoratorium at the Domkirken, Bergen, Bach’s Messe h-moll with Bristol Bach Choir, Monteverdi Vespers with the Edvard Grieg Kor, Bergen, Rachmaninov Vespers with Bath Bach Choir and Johannes Passion Arias in Sherborne Abbey.

During his two years at The Royal Academy, he was involved in a wide range of projects including performances as a soloist in The Royal Academy of Music/Kohn Foundation Bach Series, and appearing in a Tenor and Harp concert, in which he performed the song cycle A Birthday Hansel by Benjamin Britten.

“”

“It is not invidious to mention in particular the vital part played by soloist Kieran White (tenor) who, in the role of “Evangelist”, carried the weight of the whole narrative of the events as they unfolded. Singing from the pulpit with great feeling, but also (remarkably!) a good deal of eye contact with the audience, he brought to life the significance of Christ’s death in a way which must have deeply stirred those in the audience who are Christian believers, and maybe challenged those who are not.”

Derek Bal​dwin, Lymington Times, April 2017

He is an enthusiastic opera and oratorio soloist, especially a passionate performer of J.S Bach’s Evangelist roles.

Kieran also performs on the operatic stage, particularly in the early opera repertoire. Engagements include the roles of Arnalta (L’incoronazione di Poppea) at the Cockpit Theatre, Acis (Acis and Galatea) for Ensemble OrQuesta, and Sailor (Dido and Aeneas) at the Grange Festival. As a tenor with a high tessitura, he has been exploring the repertoire of the haute contre singer. He is working with the distinguished haute contre Jean-Paul Fouchécourt, studying the specifics of the haute contre voice, and has performed the roles of Valère and Tacmas (Les Indes Galantes), Hippolyte (Hippolyte e Aricie), and Renaud (Armide).

On the recital platform, he enjoys collaborations with Elizabeth Kenny (lute/theorbo) and Zita Silva (Harp); he has performed with both at the Sherborne Music Festival

This season and beyond, concerts include Bach’s St Matthew Passion (Evangelist) with Iain Ledingham, Bach’s St John Passion (Arias) with Bristol Bach Choir, Bach’s St Matthew Passion (Arias) with Copenhagen Soloists, Mozart’s C Minor Mass with Exeter Festival Chorus, Bach Cantatas with Amsterdam Baroque under Ton Koopman, reprising the role of Hippolyte with Ensemble OrQuesta at the Grimeborn Festival Arcola Theatre, and making his debut with Gli Angeli in Geneva.

Swiftly acquiring recognition in the Baroque repertoire, Kieran has recently performed Monteverdi’s Vespro della Beata Vergine with the Edvard Grieg Kor, Bach’s B Minor Mass with Bristol Bach Choir, numerous Bach Cantatas with the Hastings Philharmonic and Bach’s Magnificat with Bath Bach Choir.

When his schedule permits, Kieran White works with the distinguished haute contre tenor Jean-Paul Fouchécourt in Lyon, studying specific projects and roles.

Kieran is enjoying his life as a busy freelance tenor, but in his spare time he can be found working on his father’s farm in Dorset, singing all the while, whilst bringing the cows in!

Repertoire

Oratorio

J.S Bach
Johannes-Passion (Evangelist & Arias)
Matthäus-Passion (Evangelist & Arias)
Christmas Oratorio (Evangelist & Arias)
B Minor Mass
Magnificat in D Major
Mass in G Minor
Coffee Cantata
Cantatas BWV 4,10, 12, 62, 63, 80, 106, 140, 150, 147, 208, 227

Britten
Cantata Misericordium

Carl Orff
Carmina Burana

Cavalli
L’Egisto

Charpentier
Te Deum

D’astorga
Stabat Mater

Delius
Hassan

Dvorak
Mass in D Major

Finzi
For St Cecilia – Ceremonial Ode

Händel
Chandos Anthem No.9
Dixit Dominus
Messiah

Haydn
Die Schöpfung / The Creation (Uriel)
Missa in Angustiis (Nelson Mass)
Missa Sancti Nicolai
Paukenmesse

Howells
Hymn for St Cecilia

Mendelssohn
Elijah

Monteverdi
Vespro della Beata Vergine (1610)

Mozart
Coronation Mass
Mass in C Minor
Requiem
Vespers

Pergolesi
Magnificat

Rachmaninov
Vespers

Rossini
Petite Messe Solennelle
Stabat Mater

Schubert
Mass in G

Opera

Cavalli
La Callisto (Pane, La Natura)

Gagliano
La Dafne (Pastore)

Händel
Acis & Galatea (Acis / Corridon / Damon)
Alcina (Oronte)

Lehár
The Merry Widow (Camille)

Lully
Armide (Renaud)

Monteverdi
L’incoronazione di Poppea (Arnalta)

Mozart
Cosi Fan Tutte (Fernando)

Purcell
Dido & Aeneas (Sailor)

Rameau
Castor et Pollux (Castor)
Hippolyte e Aricie (Hippolyte)
Les Indes Galantes (Valére / Tacmas)

Rossini
Il Signor Bruschino (Florville)
La Cenerentola (Ramiro)
La Cambiale di Matrimonio (Edoardo)
L’inganno Felice (Bertrando)
L’occasione fa il Ladro (Conte Alberto)

Strauss
Die Fledermaus (Alfred)

Vaughan Williams
Sir John in Love (Bardolph)

“”

“Among the most mesmerising moments are Arnalta’s lullaby, floating on Kieran White’s concentrated, linear tenor”

Yehuda Shapiro, Opera Magazine, January 2019

Press Quotes

​Monteverdi: L’incoronazione di Poppea (Arnalta)

Cockpit Theatre / Ensemble OrQuesta

“Kieran White delivered the “lullaby” with heart stopping beauty”
Owen Davies, Plays to See, January 2019

“Among the most mesmerising moments are Arnalta’s lullaby, floating on Kieran White’s concentrated, linear tenor”
Yehuda Shapiro, Opera Magazine, January 2019

 
 

Monteverdi: Vespro della Beata Vergine (1610)

Christchurch, St Leonards / Hastings Philharmonic

“Tenor Kieran White was most effective in Nigra sum and stunningly so towards the end of the Magnificat where he flung beautiful phrases into the vaulted roof, picked up to spine-tingling effect by the off-stage echo.”
Dr Brian Hick, Lark reviews, 25th February 2018

 
 

Rossini: L’ocassione fa il ladro (Conte Alberto)

Aberdeen International Festival / Raucous Rossini

“Kieran White as the romantic lead had a series of highly attractive arias and duets that showed off his well-schooled and sweet-toned instrument very effectively”
Opera Scotland, July 2018
 
 

J.S. Bach: St John Passion (Evangelist) – Christchurch Priory

“It is not invidious to mention in particular the vital part played by soloist Kieran White​ (tenor) who, in the role of “Evangelist”, carried the weight of the whole narrative of the events as they unfolded. Singing from the pulpit with great feeling, but also (remarkably!) a good deal of eye contact with the audience, he brought to life the significance of Christ’s death in a way which must have deeply stirred those in the audience who are Christian believers, and maybe challenged those who are not.”
Derek Bal​dwin, Lymington Times, 29th April 2017

 
 

Rossini: Signor Bruschino (Florville)

Hill of Tarvit / Raucous Rossini

“The tenor Kieran White, as her lover Florville, has a sweet tone and was a neat and attractive actor”
Opera Scotland, July 2016
 
 

Lully: Armide (Renaud)

Woodhouse Opera / Ensemble OrQuesta

“With any production of a tragedie lyrique perhaps the first rule is find your haute contre. In the young tenor Kieran White music at Woodhouse found someone who could not just cope admirably with the high tessitura of Renaud’s role but make it sound expressive, lyrical and where necessary powerful. White had an admirable fluidity in his upper range and avoided that sense of sounding permanently surprised which some young tenors bring to the haute-contre repertory. White also had the advantage of a highly personable stage presence, making Armide’s obsession with the knight all the more bvelievable. Musically the role of Renaud is a relatively passive one, but White brought out the lyrical beauties of the piece such has the scene where he is lulled to sleep by magic.”
Planet Hugill, 21st February 2016

 
 

Rossini: L’Inganno Felice (Duke Bertrando)

Raucous Rossini

“high-flying tenorial lyricism from Kieran White”
Opera Scotland, July 2015

Media

Video

AUDIO

Schedule

TBC 2021

 

Warsaw Opera Kamerlana

Poland

Castor et Pollux
Rameau

Castor – Kieran White
Pollux – Kamil Zdebel
Telaire – Tosca Rousseau
Phebe – Marta Brzezinska
Jupiter – David Biwo
Cleone – Ewelina Osowska
Un Athlete – Aleksander Kunach
Le grand Pretre de Jupiter – Piotr Pieron 

Dancers – Arthu Zakhirov, Adrian Navarro, Matilda Larson, Valerie Lauer, Aleksandra Pawluczuk, Dominik Skorek, Edgar Lewandowski, Dominika Lewandowska

Assistant Choreographer – Karin Modigh
Assistant Director – Hannah Gellesz 

Warsaw Opera Kamerlana 

Director, Choreographer – Deda Cristina Colonna
Music Director – Stephan Plewniak
Sceneographer, Designer – Francesco Vitali 

4th, 6th, 10th, 12th June 2021

Cockpit Theatre

Marylebone
London

L’Egisto
Cavalli

Egisto – Kieran White
Climene – Helen May
Lidio – Erik Schlossberg
Clori – Shafali Jalota
Hipparco – Thomas Kelly

Hampstead Garden Opera

5th – 12th July 2021

Brighton

La Liberazione di Ruggiero

Caccini

Ruggiero – Kieran White

Brighton Early Music Festival Opera

4th, 5th August 2021

John Mackintosh Theatre
The London Oratory School
London SW16 1AW

Céphale et Procris

Jacquet de la Guerre

Céphale – Kieran White

Ensemble OrQuesta

24th – 28h August 2021

The Arcola Theatre
Grimeborn Festival
Dalston
London

Alcina

G F Handel

Oronte – Kieran White

Ensemble OrQuesta

Contact

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