Press Quotes

“A special word for Baroque tenor, Kieran White. He replaced an indisposed singer 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.”

Martina Bet, Daily Express

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CAVALLI: L’EGISTO
HAMPSTEAD GARDEN OPERA

“I saw Kieran White (tenor) take on the role of Egisto with believable passion and musical dexterity”
Dominica Plummer June 2021, The Spy in the Stalls

***

“Its cumulative effect is heightened by Egisto’s climactic mad scene, movingly performed by Kieran White, both pure and clarion of voice.”
Yehuda Shapiro June 2021, Stage and Opera Magazine

****

“As Egisto, tenor Kieran White’s mad scene is a tour de force”
Owen Davies June 2021, Plays To See

*****

“Kieran White’s Egisto, however, had the widest range to travel. White’s high tenor encompassed the role’s tessitura and he impressed both in his technical poise and his delivery, leading to the extended mad scene at the end.”
Robert Hugill, Planet Hugill

****

CAVALLI: LA CALISTO
COCKPIT THEATRE / ENSEMBLE ORQUESTA

“Kieran White’s timbre as Pane poetically evoked an oboe”
Yehuda Shapiro 2020, Opera Magazine

“Pane sang so emotionally, reminiscent of the best Purcell. The satyr’s arias were very challenging in their harmonies and chords, but they worked beautifully”
Margaret Lawson 2020, Audience Club

RAMEAU: HIPPOLYTE ET ARICIE
ENSEMBLE ORQUESTA, GRIMEBORN FESTIVAL, ARCOLA THEATRE

“As Hippolyte, Kieran White displays ardour and elegance”
London Standard

“The role of Hippolyte is written for an haute-contre. The English tenor Kieran White has the perfect combination 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.”
See and Heard International

“Kieran White as Hippolyte – a characteristically high-lying Rameau tenor role – is unfailingly elegant and touchingly sincere.”
The Stage

“Kieran White’s Hippolyte is a strong tenor and ardent admirer”
The Reviews Hub

“Kieran White is a splendidly romantic Hippolyte”
Reviews Gate

“Kieran White was Hippolyte, a role intended for the very French haute contra voice which he copes with well.”
Early Music Review

“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.”
Planet Hugill

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“Highlights of this work were the lovely lyrical singing of tenor soloist Kieran White and those magnificent Finzi cadences — A real tour de force…Kieran’s voice matched the music perfectly. This was certainly one of the highlights of the evening.” 

Prue Tasman: Saints and Angels, November 2019 – Exeter Festival Chorus

“Tenor Kieran White was a first class Obadiah, both in recit and aria mode. His opening ‘If with all your hearts’ was beautifully phrased and his voice was both clear and robust. His whole contribution to the concert was very fine indeed.”

Harold Mead: Elijah, March 2019 – South Somerset Choral Society

“It was privilege to see and hear a young soloist at the beginning of what promises to be an exciting career enjoying such a close rapport with such an experienced and versatile accompanist.”

DG, The Fine Times Recorder, May 2018 – Sherborne Music Festival, with Elizabeth Kenny (Lute)

“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

“Among the most mesmerising moments are Arnalta’s lullaby, floating on Kieran White’s concentrated, linear tenor”
YEHUDA SHAPIRO, OPERA MAGAZINE, JANUARY 2019

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