PRESS

LA FIDA NINFA INNSBRUCKER FESTWOCHEN DER ALTEN MUSIK

ROLE: NARETE

  • “…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.”

  • “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.”

  • “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.”

  • “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.”

  • “Kieran White, a finalist in the 2022 Cesti Competition, rounds off the ensemble excellently with his smooth tenor as Narete.”

  • “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.”

  • “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.”

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.”

  • "...In the premiere cast, young tenors - Kieran White (Castor) and Aleksander Rewinski (Mercury, Athlete) dealt with their difficult parts with a lot of ease..."

  • "...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.

ACIS & GALATEA - DORSET OPERA FESTIVAL

ROLE: DAMON

  • “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

  • “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

  • “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 sweetness of Kieran White’s tenor spins a stylish line”

    -Yehuda Shapiro, February

  • “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

  • “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

  • “Oronte (tenor Kieran White, consistently elegant)”

    -Yehuda Shapiro

  • “Kieran white’s Oronte was a model of clarity and elegance”

    -Yehuda Shapiro

L’EGISTO - HAMPSTEAD GARDEN OPERA

ROLE: EGISTO

  • “As Egisto, tenor Kieran White’s mad scene is atour de force”"

    -Owen Davies

  • “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

  • “Kieran white’s Oronte was a model of clarity and elegance”

    -Yehuda Shapiro

  • “I saw Kieran White (tenor) take on the role of Egisto with believable passion and musical dexterity”

    -Dominica Plummer

  • “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

  • “Kieran White’s timbre as Pane poetically evoked an oboe”

    —Yehuda Shapiro

  • “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

  • “Kieran White’s Hippolyte is a strong tenor and ardent admirer”

    -Maryam Philpott

  • “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

  • “Kieran White is a splendidly romantic Hippolyte”

    -William Russell

  • “Kieran White was Hippolyte, a role intended for the very French haute contravoice which he copes with well.

    -Andrew Benson Wilson

  • “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

  • “As Hippolyte, Kieran White displays ardour and elegance”

    —Nick Kimberley

  • “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

  • “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

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

    -Yehuda Shapiro