Reviews

Il ritorno d’Ulisse, Hokutopia International Festival.

“Physical expression of the singers was also great, especially tenor Kevin Skelton’s outstanding singing and dancing at the same time. The scene that he sings as Ulisse’s son Telemaco singing while dancing with Aki Tsujita and Yusuke Toyama was brilliant.”

Dance Magazine, http://www.shinshokan.co.jp (11/2018).

Johannes-Passion, Hildebrandt Consort.

“In the limelight, we would place the evangelist, Canadian tenor Kevin Skelton.  A fine high tenor who flawlessly fulfilled his arduous task and was at times especially captivating. The highlight … was his interpretation of the story where Peter realizes that he had betrayed Jesus three times: ‘…und ging hinaus und weinerte bitterlicht’.”

Ludwig Van Mechelen, http://www.klassiek-centraal.be (03/2016).

“The fantastic evangelist Kevin Skelton, singing with clear diction and heartfelt interpretation, was the true architect of emotional engagement.”

Lydia Töpfchen, http://www.thewedgefugue.blogspot.be (03/2016).

Dafne (Caldara), Teatro La Fenice.

“Very expressive both vocally and in his scenic gestures . . . Kevin Skelton’s light tenor and homogeneous timbre was particularly evident in his tasteful and passionate interpretation of ‘Luci belle’.”

GB Opera Magazine, http://www.gbopera.it (07/2015).

The Play of Daniel, The Toronto Consort.

“Appearing in the play’s ubiquitous central role, tenor Kevin Skelton portrayed a profoundly inspiring Daniel, his bright, sunny instrument refracting a spectrum of prismatic colours, courage to desperation, fear to faith to triumph. . .  Skelton mesmerized.”

Ian Ritchie, http://www.operagoto.com (05/2015).

“The talented young Canadian tenor, Kevin Skelton brought a calm presence and unassuming dignity to the role of Daniel while his soft, gentle, mellifluous tenor is well suited to the part.”

Neil Crory, http://www.musicaltoronto.org (05/2015).

“I’d single out the exceptionally singing and dignified acting of tenor Kevin Skelton as Daniel.  He was given stylized movements and sang . . . with great clarity and purity of tone.  He really embodied the auster young man he is portraying.”

http://www.operaramblings.wordpress.com (05/2015).

Fairy Queen (Purcell), co-production Veenfabriek/Nederlandse Reisopera.

“Alongside his crystal-clear baroque voice, Kevin Skelton showcased unexpected talents as an acrobat.”

Martin Toet, http://www.operamagazine.nl (02/2014).

 Divine Rapture, Vox Æterna.

“Since leaving Toronto for the Low Countries, tenor Kevin Skelton has been doing some very interesting work that combines singing, dance and pre-Classical-era music.  Many people talk about doing things differently. Skelton is actually doing it. And we have to appreciate the difficulties in combining voice and movement.”

John Terauds, http://www.musicaltoronto.org (10/2013).

“Whether on its own (notably highlighting the concert) or as a poetic amplification of the musical discourse, dance proves omnipresent . . . but at the same time highly evocative.”

“. . . the stylish singing of this suave and penetrating haute-contre works wonders.”

“The vocal prowess does not cease to fascinate, as, with closed eyes, we are incapable of knowing when the body is leaping or writhing on the floor in one of those acrobatic positions that opera singers dread, yet, in this instance, never affect the performance of the singer.”

Bernard Schreuders, http://www.forumopera.com (09/2013).

 Sol io, Vox Æterna.

“Through the sepulchral gloom of a vast cold-storage warehouse, the audience is led to a series of stages. In front of a screen of stark video animations, singer/dancer Kevin Skelton creates a haunting blend of movement, Monteverdi and meditation.”

Shirley Apthorp, The Financial Times (05/2012).

“In the next section a graceful dancer performs a pas de deux with images of himself on a large video screen in a surprising visual counterpoint, while electronically divided musical lines of Monteverdi sound out of the speakers, sung by a remarkably beautiful tenor voice. It only gradually becomes clear that it is the dancer himself, Kevin D. Skelton, who is singing, which of course demands even more respect.”

Frits van der Waa, De Volkskrant (05/2012).

Zefiro Torna, Vox Æterna.

“Canadian tenor Kevin Skelton has been busy with fascinating interdisciplinary High Art in the Low Countries. Behold a gorgeous new instalment [link].”

John Terauds, http://www.musicaltoronto.org (06/2012).

Niobe, Regina di Tebe (Steffani), Boston Early Music Festival.

“. . . Kevin D. Skelton, the tenor, sang the amorous sad-sack Clearte with a regal bearing . . .”

Allan Kozinn, The New York Times (06/2011).