Skip Navigation Links
  Tenors: Christopher Gillett - Reviews
ResuméReviewsDiscographyRepertoireMultimedia


Billy Budd‚ Teatro Real Madrid
Forum Opera (February 2017)


'Tous les autres forment un impressionnant résumé de quelques générations de l’école de chant anglaise. Parmi les doyens‚ le Dansker de Clive Bayley‚ superbe basse en pleine possession de ses moyens‚ pour un rôle qu’on aurait tort de confier à un chanteur à bout de course‚ ou le cocasse Red Whiskers de Christopher Gillet. /// All the others form an impressive summary of a few generations of the English school of singing. Among the deans‚ the Dansker by Clive Bayley‚ superb bass in full possession of his means‚ and the same applies for the comic Red Whiskers of Christopher Gillett‚ a role that would be wrong to entrust to a singer at the end of race.'

Billy Budd‚ Teatro Real Madrid
Seen and Heard International (February 2017)


'Christopher Gillett was a persuasive Red Whiskers on stage...'

Alexander Goehr im Fokus‚ Ensemble Modern
The Guardian (November 2016)


'Verschwindendes Wort (Vanishing Word) sets a selection of German texts (one a translation of Osip Mandelstam) as a 35-minutes cantata in which the mezzo Lucy Schaufer and tenor Christopher Gillett’s fine contributions were interspersed with a series of equally adept instrumental preludes.'

Sweeney Todd‚ La Monnaie
Forumopera.com (June 2016)


'Andrew Schroeder et Christopher Gillett‚ très bien caractérisés tous les deux‚ assument les rôles du juge Turpin et de son factotum avec une belle cohérence...//Andrew Schroeder and Christopher Gillett‚ very well characterized both‚ assume the roles of Judge Turpin and his factotum with a nice consistency...'

Turandot‚ Northern Ireland Opera
Guardian (November 2015)


'Christopher Gillett manages to offer Emperor Altoum a measure of vocal dignity‚ despite wearing only a nappy'

Turandot‚ Northern Ireland Opera
Opera Traveller.com (November 2015)


'Musically‚ it was given a highly creditable performance by artists who gave absolutely everything of themselves to provide an overwhelming theatrical experience...Christopher Gillett sang Altoum with a lieder singer’s attention to text and magnetic stage presence'

Turandot‚ Northern Ireland Opera
The Irish Times (November 2015)


'The leads on Saturday were all strongly taken...There were stalwart contributions from Stephen Richardson as Timur and Christopher Gillett as Emperor Altoum (the latter clad only in a nappy)'

Il ritorno d’ Ulisse in patria‚ Academy of Ancient Music‚ Barbican London
Opera Today (October 2015)


'There were also impressive performances from...Christopher Gillett as Eumete'

Il ritorno d’ Ulisse in patria‚ Academy of Ancient Music‚ Barbican London
The Times (October 2015)


'Christopher Gillett...touching as Eumete'

Il ritorno d’ Ulisse in patria‚ Academy of Ancient Music‚ Barbican London
Classical Source (September 2015)


'Other character parts were convincingly taken by Christopher Gillett as the faithful shepherd Eumete (who proves a trusty guide to Ulisse)'

Il ritorno d’ Ulisse in patria‚ Academy of Ancient Music‚ Barbican London
Planet Hugill (September 2015)


'Neither Andrew Tortise (Telemaco) nor Christopher Gillett (Eumete) got a chance to really develop their characters dramatically‚ but both were poised musically and complemented the main action finely'

Il ritorno d’ Ulisse in patria‚ Academy of Ancient Music‚ Barbican London
The Arts Desk (September 2015)


'...there was an unusually touching Eumete from Christopher Gillett'

A Midsummer Night’s Dream‚ Festival d’Aix-en-Provence
BachTrack.com (July 2015)


'...the redoubtable tenor Christopher Gillett from that 1991 company is also on hand‚ as he has been at 13 revivals since‚ except this time (in deference to Anno Domini) he’s the stonewalling Snout rather than the boyish Flute'

A Midsummer Night’s Dream‚ Festival d’Aix-en-Provence
Le Temps.ch (July 2015)


'...une troupe d’artisans totalement désopilante‚ l’ensemble est un régal! /// a totally hilarious troupe of craftsmen‚ all is a treat'

Der Rosenkavalier‚ Glyndebourne Festival Opera at BBC Proms
BachTrack.com (July 2014)


'Glyndebourne fielded a uniformly strong cast...Helene Schneiderman and Christopher Gillett‚ as scheming Annina and Valzacchi‚ were strongly characterised'

Der Rosenkavalier‚ Glyndebourne Festival Opera at BBC Proms
Classical Source.com (July 2014)


'The teeming pool of smaller roles‚ as usual at Glyndebourne‚ were very strongly cast – a grotesque pair of gossip hacks Valzacchi and Anina from Christopher Gillett and Helene Schneiderman'

Der Rosenkavalier‚ Glyndebourne Festival Opera at BBC Proms
The Arts Desk.com (July 2014)


'The smaller roles all worked together towards the satisfying whole‚ not least Michael Kraus (Faninal)‚ Miranda Keys (Marianne)‚ and the scheming duo of Valzacchi and Annina played with gusto by Christopher Gillett and Helene Schneiderman'

Der Rosenkavalier‚ Glyndebourne Festival Opera at BBC Proms
What’s On Stage.com (July 2014)


'There was a host of telling performances in the smaller roles including a mellow Italian tenor from Andrej Dunaev and a characterful Valzacchi and Annina by Christopher Gillett and Helene Schneiderman'

Der Rosenkavalier‚ Glyndebourne Festival Opera
What’s On Stage.com (May 2014)


'Jones obviates any possible longueurs by filling the evening with ingenious and imaginative stagecraft. He is abetted in no small part by...a host of cameos from the likes of...Christopher Gillett and Helene Schneiderman‚ choreographed to within an inch of their lives as the scheming Valzacchi and Annina'

A Harlot’s Progress‚ Theater an der Wien
Opera (January 2014)


'...there were excellent contributions from...Christopher Gillett as Lovelace'

A Harlot’s Progress‚ Theater an der Wien
Deutschland Radio.de (October 2013)


'Christopher Gilett fiel die Rolle des alten Ekels zu - er spielt sie virtuos und könnte ein gutgehender Wiener Geschäftsmann von nebenan sein /// Christopher Gilett fell to the role of nauseating old man - he plays it brilliantly and could be a slick-selling Viennese businessman from next door'

A Harlot’s Progress‚ Theater an der Wien
Die Presse.com (October 2013)


'Christopher Gillett gibt den schmierigen John Lovelace // Christopher Gillett is the sleazy John Lovelace'

A Harlot’s Progress‚ Theater an der Wien
Kurier.at (October 2013)


'...Christopher Gillet gibt den reichen Lustgreis Lovelace überzeugend ///...Christopher Gillet is convincing as the rich old man Lovelace'

A Harlot’s Progress‚ Theater an der Wien
Opera Critic.com (October 2013)


'The lecherous St. John Lovelace is given just the right treatment by Christopher Gillett'

Peter Grimes (concert) Aldeburgh Festival
Classical Source.com (June 2013)


'In a supporting cast with no weak links‚ Catherine Wyn-Rogers and Christopher Gillett both have long associations with this opera and their performances were especially well-defined. Robert Murray (Bob Boles)‚ Henry Waddington (Swallow) and Stephen Richardson (Hobson) were equally assured...'

Peter Grimes (concert) Aldeburgh Festival
Ipswich Star (June 2013)


'The other parts were filled with equal flair and distinction and all deserve mention...Christopher Gillett was credible as the Rev. Adams‚ ultimately powerless in the grip of village hatred and hysteria'

Peter Grimes (concert) Aldeburgh Festival
Musical Criticism.com (June 2013)


'There was scarcely a weak link in the rest of the cast. Boles‚ Swallow‚ Adams‚ Keene and Hobson were all vividly and effectively characterized by Robert Murray‚ Henry Waddington‚ Christopher Gillet‚ Charles Rice and Stephen Richardson respectively‚ and none of them put a foot wrong: conveying‚ without a costume‚ prop or stage effect in sight‚ the foibles of each character and the hierarchy of the Borough that Britten establishes so cleverly. Each showed just how much can be conveyed by a tone of voice‚ a wheedling inflection‚ a hint of being drunk‚ a whiff of conspiracy'

Peter Grimes (concert) Aldeburgh Festival
The Times (June 2013)


'Grimes has been rarely performed in the Maltings‚ but the hall’s relative intimacy seems to intensify its musical and dramatic impact...a vivid gallery of cameo artists seemingly steeped in Grimes tradition...Christopher Gillett (the Rector)‚ Stephen Richardson (Carter Hobson)'

To These Dark Steps‚ Birmingham Contemporary Music Group
Birmingham Post (October 2012)


'...a happy evening celebrating everything BCMG continues to achieve...Christopher Gillett the adept tenor‚ members of the remarkable CBSO Youth Chorus projecting with urgent communication (including a well-sung and spoken solo)'

To These Dark Steps‚ Birmingham Contemporary Music Group
Classical Source.com (October 2012)


'The performance appeared to leave nothing to chance‚ with Christopher Gillett (replacing an indisposed Andrew Staples) eloquent and demonstrative in his contribution'

The Marriage of Figaro‚ Los Angeles Opera
ConcertoNet.com (September 2010)


'Christopher Gillett adds a nice touch of suggestive naughtiness to the character'

The Marriage of Figaro‚ Los Angeles Opera
Los Angeles Times (September 2010)


'a sleazy Basilio (Christopher Gillett)'

De Materie‚ Schönberg Ensemble
De Telegraaf (June 2008)


'...the agile voice of the tenor Christopher Gillett'

De Materie‚ Schönberg Ensemble
Trouw (June 2008)


'In the other parts the soloists sounded better: with the almost hysterical tessitura‚ tenor Christopher Gillett delivered a beautiful counterpoint to the amplified‚ choppy ensemble'

De Materie‚ Schönberg Ensemble
Volskrant (June 2008)


'Tenor Christopher Gillett held himself in good standing as the 17th Century philosopher amongst the excessive blows dealt by the ensemble'

St Matthew Passion‚ English Chamber Orchestra
Birmingham Post (March 2008)


'Christopher Gillett as the gripping Evangelist...particularly outstanding'

L’Incoronazione di Poppea‚ English National Opera
Financial Times (October 2007)


'Christopher Gillett’s drag Arnalta turns the lullaby into the evening’s musical high-water mark'

L’Incoronazione di Poppea‚ English National Opera
Independent (October 2007)


'Arnalta‚ Poppea’s aged nurse‚ who is cast as a pantomime dame‚ relished and then some by Christopher Gillett'

L’Incoronazione di Poppea‚ English National Opera
MusicalCriticism.com (October 2007)


'Christopher Gillett (Arnalta) sang beautifully'

L’Incoronazione di Poppea‚ English National Opera
Stage (October 2007)


'Diana Montague and Christopher Gillett fulfil all requirements in the comic roles of the Nurse and Arnalta respectively'

L’Incoronazione di Poppea‚ English National Opera
Times (October 2007)


'Christopher Gillett sang with model clarity and displayed a lovely pair of pins in the cross dressing role of Arnalta'

L’Incoronazione di Poppea‚ Los Angeles Opera
Los Angeles Downtown News (December 2006)


'Christopher Gillett proved wonderfully sympathetic in drag as Poppea’s old nurse‚ Arnalta. You wouldn’t think you could do "camp" without overdoing "camp" but Gillett manages the trick‚ thanks in part to his strong seductive tenor'

L’Incoronazione di Poppea‚ Los Angeles Opera
Opera Today (December 2006)


'Singing the traditionally “travesti” role of Arnalta‚ Poppea’s foolish old nurse‚ British tenor Chris Gillett was a great success with the local audience‚ as he played the part with a fine balance between farce and pathos. This opera is full of wonderful comic moments‚ vignettes and asides‚ that lighten the overall gravity of what is going on “main stage” - and the ridiculous old snob is a major source of that light relief'

L’Incoronazione di Poppea‚ Los Angeles Opera
OperaOnline.com (December 2006)


'...his portrayal of Poppea’s nurse‚ Arnalta‚ was a sheer delight as he meandered around the stage in drag like a wind-up Coppélia doll‚ or Olympia in “The Tales of Hoffmann.” He moved like a Robert Wilson mannequin‚ but with unbridled emotion. His Harlequin-like costume added a Commedia dell’arte touch‚ and he brought some light-hearted comedy to the otherwise serious proceedings'

Voices‚ London Sinfonieta‚ BBC Prom
Classical Source.com (August 2006)


'Christopher Gillett is a rising star in the performance of 20th-century music. His precise‚ mellifluous delivery was perfectly suited to the many numbers that draw to a greater or lesser extent on the German Lied tradition'

Voices‚ London Sinfonieta‚ BBC Prom
Evening Standard (August 2006)


'Soloists Mary King and Christopher Gillett could not be faulted for commitment and characterization'

Voices‚ London Sinfonieta‚ BBC Prom
Guardian (August 2006)


'...a blistering performance…Christopher Gillett was the elegant tenor soloist'

Voices‚ London Sinfonieta‚ BBC Prom
MusicOMH.com (August 2006)


'Christopher Gillett gave a committed and often sensitive performance - his singing in the Richard W. Thomas poem The Worker was intensely moving'

Voices‚ London Sinfonieta‚ BBC Prom
Times (August 2006)


'The vocalists themselves‚ Mary King and Christopher Gillett‚ have to do everything that any self respecting performer of the 1960s always had to do: speak‚ shout‚ scream and sing. Words twanged against the tense rhythms of guitar and accordion as Gillett took on Brecht. Both soloists rhapsodised in Hans Magnus Enzensberger’s final love-fest‚ Carnival of Flowers'

Sir John in Love‚ English National Opera
Independent (March 2006)


'...the character work of Robert Tear‚ Christopher Gillett and Richard Coxon is reliably entertaining'

Nocturne for Tenor and Chamber Orchestra‚ Philadelphia Orchestra
Philadelphia Inquirer (November 2003)


'There are many vocal pleasures from tenor Christopher Gillett’s well-enunciated reading and dignified emotionalism'

Albert Herring‚ Northern Sinfonia‚ Naxos CD
Gramophone (June 2003)


'Bedford’s lively set is a delight. It has the advantage of a winning young Albert in Christopher Gillett‚ vulnerable and touching'

St Matthew Passion‚ Bach Choir
Evening Standard (April 2003)


'Christopher Gillett’s dramatic but sincere interpretation of the Evangelist was utterly riveting'

Canticum Sacrum‚ BBC National Orchestra of Wales
Times (August 2001)


'Soloists Christopher Gillett and David Wilson-Johnson had their own forthright splendour'

War Requiem‚ Radio Filharmonisch Orkest
NEL (June 2001)


'Together with the baritone Quentin Hayes‚ Christopher Gillett forms a moving unity‚ especially in the final movement'

War Requiem‚ Radio Filharmonisch Orkest
Trouw (June 2001)


'Gillett sings with much feeling and empathy‚ especially in “Move him into the sun"'

Voices‚ London Sinfonietam
Guardian (March 2001)


'Soloists Fiona Kimm and Christopher Gillett ensured that each setting was a succinct‚ selfcontained drama'

St Matthew Passion‚ Bach Choir
Independent (April 2000)


'As Evangelist‚ Christopher Gillett’s tenor proved to be a dramatic asset'

War Requiem‚ Stuttgarter Philharmoniker
Stuttgart Zeitung (October 1999)


'Gillett took the comtemporary relevance of the poems as an occasion for an astonishing performance'

Idomeneo‚ Opera Northern Ireland
Opera Now (January 1998)


'Christopher Gillett’s fine Arbace was rewarded with his (often omitted) aria'

Albert Herring‚ Northern Sinfonia‚ Naxos CD
Sunday Telegraph (December 1997)


'The cast is carefully chosen. Christopher Gillett is an impressive Albert with an inner strength that makes his rebellion credible'