Keith Jameson

• Tenor

Reviews

Keith Jameson press reviews

And as the jester Clarín who brings crucial comic relief to the opera, the vocally robust, physically agile tenor Keith Jameson stole every scene he was in.
—Anthony Tommasini, The New York Times, July 25, 2010All of the singers deserve more positive comments than I can provide here. Simply mastering such craggy, wide-ranging vocal lines is immensely difficult, but all of these artists invested their performances with rich characterization: Soprano Ellie Dehn as an endearing, earnest Rosaura (her monologue at the end of Act Two was deeply moving); tenor Keith Jameson as the bright, boyish and ultimately tragic jester Clarín.
—James M. Keller, The Santa Fe New Mexican, July 25, 2010As Goro in Madama Butterfly at The Santa Fe Opera:
The tenor Keith Jameson, a standout as the jester in “Life Is a Dream,” was wonderful here as Goro, the wily marriage broker.
—Anthony Tommasini, The New York Times, July 26, 2010The tenor Keith Jameson is a familiar presence in tenor character roles at the company, and his vivid portrayal of the smarmy marriage broker Goro displayed his usual high standards.
—James M. Keller, The Santa Fe New Mexican, July 3, 2010Keith Jameson’s Goro is the perfect snake of a marriage broker.
—Rodney Punt, The Huffington Post, July 21, 2010As Basilio in Le nozze di Figaro at Lyric Opera of Chicago:
South-Carolina-based tenor Keith Jameson is becoming a key character singer at Lyric and his Don Basilio was lovingly colored.
—Andrew Patner, The Chicago Sun-Times, March 3, 2010As Pietro in Die Gezeichneten at Los Angeles Opera:
Another stand out in the smaller roles was Keith Jameson, who was deliciously evil has Pietro.
—Charlise Tiee, The Opera Tattler, April 11, 2010As Vašek in The Bartered Bride at Opera Boston:
Keith Jameson made a hilarious company debut as Vašek, the bartered groom, part mama’s boy and part wide-eyed sparrow testing his wings. He was such a natural vaudevillian that one almost forgot he just happened to possess a knockout ringing tenor voice.
—Kalen Ratzlaff, Opera News, May 1, 2009Tenor Keith Jameson was the most entrancing of the cast as the stammering and not-too-bright Vašek.
—Caldwell Titcomb, The Arts Fuse, May 9, 2009Jameson spun comic gold from the hapless milquetoast; he was easily as funny as any other actor on a Boston stage, and all the while singing beautifully.
—Thomas Garvey, The Hub Review, December, 2009Superb tenor Keith Jameson was both touching and funny as the tongue-tied, stuttering Vašek and stole every scene he was in.
—Lloyd Schwartz, The Boston Phoenix, May 12, 2009As Gherardo in Gianni Schicchi at The Metropolitan Opera:
Patricia Risley (Ciesca), Jeff Mattsey (Marco) and Keith Jameson (Gherardo) sang and acted enjoyably as the more “normal” relatives.
—David Shengold, Opera News, November 20, 2009As Beppe in I Pagliacci at Lyric Opera of Chicago:
Keith Jameson brought a sweet, pleasing tenor to Beppe’s song.
—John Von Rhein, The Chicago Tribune, February 16, 2009Keith Jameson used his short aria as Beppe to enchant the audience with a fluid, golden voice.
—Evan Kuchar, Chicagocritic.com., February 14, 2009Keith Jameson’s Beppe boasted a refreshingly appealing timbre.
—Mark Thomas Ketterson, Opera News, May 2009Keith Jameson added to his catalogue of character roles with Beppe’s very prettily sung serenade, performed from atop a tall blue ladder.
—operawarhorses.com, March 4, 2009As the Novice in Billy Budd at The Santa Fe Opera:
A promising young tenor with a sweet yet substantial voice, Keith Jameson was heartbreaking as the Novice, a confused boy among tough men, who is dragged in bloody and humiliated after being unjustly flogged.
—Anthony Tomasini, The New York Times, August 8, 2008Keith Jameson’s tormented, anguished Novice was consistent in voice, character, and movement at every moment, in work of the very highest quality.
—Craig Smith The New mexican, July 13, 2008As the Novice, Keith Jameson brings exceptional sympathy to the character, as well as a clarion tenor voice of which one can certainly hope to hear more in the future.
—D.S. Crafts, The Albuquerque Journal, July 14, 2008…the mass of men was individualized by some deeply sympathetic figures – the Novice of Keith Jameson, who wrung as eloquent pathos from his lament at his flogging.
—Simon Williams, Opera News, November, 2008As the Footman at the Ball and First Staff Officer in War and Peace at The Metropolitan Opera:
Keith Jameson brought his keen light tenor to two tiny parts.
—David Shengold, Opera News, March 2008As Monsieur Triquet in Eugene Onegin at Lyric Opera of Chicago:
Keith Jameson, another house debut, invested the little serenade of Monsieur Triquet with bel-canto finesse.
—John Von Rhein, The Chicago Tribune, March 2008American tenor Keith Jameson nails Monsieur Triquet’s ridiculous French song in his Lyric debut.
—Andrew Patner, The Chicago Sun-Times, March 2008Notable company debuts…Keith Jameson as Triquet, his little ditty adding a splash of glitter amid the gloom.
—Mark Thomas Ketterson, Opera News, May, 2008As Nanki-Poo in The Mikado at English National Opera:
Keith Jameson, a best-boy of teeth-gleaming perfection and tenor as sweet as sugar candy makes an impressive ENO debut as Nanki-Poo.
—Hilary Finch, The Times, London, February 6, 2006With his doe-eyed sincerity and Eton enunciation, Keith Jameson’s ENO debut as Nanki-Poo owes a debt to James Hewitt
—Karen Stretch, Metro, London, February 8, 2006