PRESS
LA FIDA NINFA INNSBRUCKER FESTWOCHEN DER ALTEN MUSIK
ROLE: TENOR
VORARLBERGER NACHRICHTEN
“…the English tenor Kieran White, as the father of the two nymphs, made people sit up and take notice with his elegant delivery, particularly in his one long, elegiac aria.”
KIELER NACHRICHTEN
“The English tenor Kieran White (Narete) only has a small role, but he turns it into something extraordinary. When Narete offers the unyielding Oralto all his wealth so that he and his daughters can be released, he asks for mercy in the aria “Deh ti piega, deh consenti” and warns Oralto that he too could one day suffer a blow of fate. White performs this aria with heartfelt fervor, making it the musical highlight of the opera.”
OPERA-ONLINE.COM
“Narete's aria begging for mercy, which Kieren White delivers in a very moving and expressive way, is touchingly rousing. His tenor is multi-layered and flexible with an open, free timbre.”
OPERAINCASA.COM
“Here we have another British tenor, Kieran White: his character has only two solo arias, both in the second act, in addition to the duet with Osmino in the third. An elegant and sensitive interpreter, his performance in the aforementioned aria which here concluded the first of the two acts was applauded enthusiastically.”
TIROLER TAGESZEITUNG
“With Elina Welle as (another) nymph Elpina and the young, fresh-voiced tenor Kieran White as the shepherd Narete, here are two more voices that fit harmoniously into this vocal sextet.”
MÜNCHER MERKUR
“Also Kieran White as the nymph's father Narete…whose layered tenor voice immediately invites you to listen - his great lament became the central moment of the performance.”
ONLINE MUSIK MAGAZIN
“Kieran White, a finalist in the 2022 Cesti Competition, rounds off the ensemble excellently with his smooth tenor as Narete.”
CASTOR ET POLLUX - WARSAW CHAMBER OPERA
ROLE: CASTOR
“In terms of voice, the performance can be considered sung in a very elegant and noble way. Almost all artists are gifted with interesting voices and no doubt they are no strangers to the secrets of the old techniques. The most convincing was Kieran White in the role of Castor, his voice had the brilliance of French music, but also the lightness that is the basis of the execution of this type of repertoire..... both singers, thanks to the resignation from a useless impression of exaltation, reach a high degree of scenic truth, sometimes even remoteness, which is not easy to achieve in this type of libretto. On their faces, any surprise, fear, happiness or emotion caused by the unexpected course of events was discreet, but not devoid of internal tension.” — WIESŁAW KOWALSKI
"...In the premiere cast, young tenors - Kieran White (Castor) and Aleksander Rewinski (Mercury, Athlete) dealt with their difficult parts with a lot of ease..."
— Jacek Marczyński, The Two Sons of Jupiter
"...Pollux induced Father Jupiter to restore the Brother's life and their meeting led to a delightful duo, in which the protagonist was gently guided by the resonant, almost magical sound of Castor, the tenor Kieran White."
KIERAN PERFORMS THE ROLE OF CASTOR IN THE WARSAW CHAMBER OPERA PRODUCTION OF CASTOR ET POLLUX
ACIS & GALATEA - DORSET OPERA FESTIVAL
ROLE: DAMON
☆☆☆☆ DAILY EXPRESS
“A special word for Baroque tenor, Kieran White. He replaced an indisposedsinger in the role of Damon, Acis’ friend, late in the day and his true ‘haute-contre’ was possibly the clearest and most focused voice of all the soloists. Nowfirmly established in the industry, he happily acknowledges that his operatic lifebegan in the chorus of the Dorset Opera Festival. Yet another ‘emerged’ artistmaking a name for themselves through this exciting Company.”
—Martina Bet
THE FINE TIMES RECORDER
“Dorset tenor Kieran White took over from the indisposed Tom Smith as Acis’swise friend Damon. His lovely high tenor voice was a satisfying contrast...”
-Fanny Charles
LES INDES GALANTES - ENSEMBLE ORQUESTA
ROLE: VALÈRE/TACMAS
☆☆☆☆ PLAYS TO SEE
“His lovely high tenor sounds magical in the shipwreck scene and, in the two gloriously lyrical pieces that end this act, the duet and chorus Volez Zephirs Volez were outstanding”
- Owen Davies, February
☆☆☆☆ THE STAGE
“The sweetness of Kieran White’s tenor spins a stylish line”
-Yehuda Shapiro, February
EARLY MUSIC REVIEW
“Helen May and Kieran White both impressed vocally, the latter utilising the distinctive French haute-contre voice”
-Andrew Benson-Wilson, February
ALCINA - ENSEMBLE ORQUESTA
ROLE: ORONTE
☆☆☆☆ PLANET HUGILL
“Kieran White (who was also in the recentL'egisto) made a sympathetic Oronte,reduced to doing what he was told and rightly puzzled by Morgana's behaviour.White and Nic Dhiarmada made therelationship believable so that during thefirst two acts it did not simply seem like hi-jinks, which can often be the case.White's tenor has a nice, plangent quality to it which suits the music admirably.As is often the case with smaller Handel roles, you wished he had a greater role inthe drama.”
- Robert Hugill, 26th August
☆☆☆☆ THE STAGE
“Oronte (tenor Kieran White, consistently elegant)”
-Yehuda Shapiro, 31st August
OPERA MAGAZINE
“Kieran white’s Oronte was a model of clarity and elegance”
-Yehuda Shapiro, October
L’EGISTO - HAMPSTEAD GARDEN OPERA
ROLE: EGISTO
☆☆☆☆☆ PLAYS TO SEE
“As Egisto, tenor Kieran White’s mad scene is atour de force”"
-Owen Davies
☆☆☆☆ PLANET HUGILL
“Kieran White's Egisto, however, had the widest range to travel. White's hightenor encompassed the role's tessituraand he impressed both in his technicalpoise and his delivery, leading to the extended mad scene at the end.”
-Robert Hugill
☆☆☆ THE SPY IN THE STALLS
“I saw Kieran White (tenor) take on the role of Egisto with believable passion and musical dexterity”
-Dominica Plummer
☆☆☆☆ THE STAGE AND OPERA MAGAZINE
“Its cumulative effect is heightened by Egisto’s climactic mad scene, movinglyperformed by Kieran White, both pure and clarion of voice.”
-Yehuda Shapiro
LA CALISTO - ENSEMBLE ORQUESTA
ROLE: PANE
OPERA MAGAZINE
“Kieran White’s timbre as Pane poetically evoked an oboe”
—Yehuda Shapiro
AUDIENCE CLUB
“Pan sang so emotionally, reminiscent of the best Purcell. The satyr’s ariaswere very challenging intheir harmonies and chords, but they worked beautifully”
—Margaret Lawson
HIPPOLYTE ET ARICIE - ENSEMBLE ORQUESTA - GRIMEBORN FESTIVAL
ROLE: HIPPOLYTE
☆☆☆ THE REVIEWS HUB
“Kieran White’s Hippolyte is a strong tenor and ardent admirer”
-Maryam Philpott
SEEN AND HEARD INTERNATIONAL
“The role of Hippolyte is written for an haute-contre. The English tenor Kieran White has the perfectcombination of stamina and expression. His voice is clear and expressive. His touching Act IV aria,‘Ah! faut-il, en un jour’ revealed the extent of his lyric talents.”
—Colin Clarke, 2019
☆☆☆ REVIEWS GATE
“Kieran White is a splendidly romantic Hippolyte”
-William Russell, August 2019
EARLY MUSIC REVIEW, ANDREW BENSON WILSON
“Kieran White was Hippolyte, a role intended for the very French haute contravoice which he copes with well.
-Andrew Benson Wilson, August 2019
PLANET HUGILL
“Kieran White displayed a fine haut-contre tenor, perhaps with a little too much edge for the small theatre space. But he was a fine stylist, and his contributions were always a pleasure to listen to.”
-Robert Hugill
☆☆☆ EVENING STANDARD
“As Hippolyte, Kieran White displays ardour and elegance”
—Nick Kimberley, 2019
☆☆☆ THE STAGE
“Kieran White as Hippolyte–a characteristically high-lying Rameau tenor role–is unfailingly elegant and touchingly sincere”
L’INCORONAZIONE DI POPPEA - ENSEMBLE ORQUESTA
ROLE: ARNALTA
☆☆☆☆☆ PLAYS TO SEE
“And in the tiny but demanding role of Arnalta, tenor Kieran White delivered the ‘lullaby’ (as Poppea falls asleep just before the assassination attempt) with heart stopping beauty”
-Owen Davies
☆☆☆☆ THE STAGE
“Among the most mesmerising moments are Arnalta’s lullaby, floating on Kieran White’s concentrated, linear tenor”
-Yehuda Shapiro