Keith Jameson, the boyish, sweet-voiced tenor playing Candide, amply captures the hero’s disarming charm and foolish gullibility.

— New York Times

Reviews

As Candide with the Baltimore Symphony Orchestra:

In the title role, Keith Jameson revealed a sweet voice and a knack for spinning exquisite phrases; he sounds like a true tenore di grazia of yore. -Tim Smith, The Baltimore Sun, June 12, 2015 Keith Jameson as Candide brought all the innocent boyish antics to bear in his portrayal and matched his Cunegonde (Lauren Snouffer) with solid vocal chemistry. -Samantha Buker, The Washington Post, June 14, 2015 In its initial performance last night at The Music Center at Strathmore, tenor Keith Jameson shone as the title character. Candide is an illegitimate child of the north German region of Westphalia who improbably travels the globe in search of proof of his mentor Dr. Pangloss’ insistence, against all plain-to-see evidence, that he lives in the “best of all possible worlds.” Mr. Jameson, a veteran of the Metropolitan Opera, delightfully modulates his warm and sophisticated voice into an American musical style with appropriate English diction while still encapsulating Candide’s wide-eyed wonder and apparently naïve hope for finding his forbidden lost love, Cunégonde. -David Rohde, DCMetro Theater Arts, June 12, 2015

As Alméric in Iolanta at the Metropolitan Opera:

Among the smaller roles, Keith Jameson, with his piercing tenor, stood out as Alméric, one of the king’s henchmen. -Heidi Waleson, The Wall Street Journal, February 2, 2015 Keith Jameson delivered the armor-bearer Alméric’s few lines in a clear, bracing tenor. -Fred Cohn, Opera News, April, 2015

As Henry Snibblesworth in The Classical Style: An Opera (of sorts) at Carnegie Hall:

Henry Snibblesworth (the lively tenor Keith Jameson), an energetic, nerdy young musicologist, bursts in to help Donna Anna, not by rebuffing her attacker but by explaining, politely, that the vocal line she is about to sing contravenes values of good melodic writing. -Anthony Tommasini, The New York Times, December 5, 2014

As Monsieur Taupe in Capriccio at Lyric Opera of Chicago:

Keith Jameson offered a poignantly amusing Taupe. -Mark Thomas Ketterson, Opera News, October 6, 2014 Bass-baritone David Govertsen is the haughty Majordomo who discovers tenor Keith Jameson’s wonderfully characterized Monsieur Taupe after he has been forgotten when the guests have departed. —Andrew Patner, Chicago Sun-Times, October 7, 2014 Keith Jameson etched a fine cameo as the weird, aged prompter, Monsieur Taupe. —Lawrence A. Johnson, Chicago Classical Review, October 7, 2014 The brief exchange between David Govertsen’s world-weary Majordomo and Keith Jameson as the mousey prompter, Monsieur Taupe, was another choice bit of business. —John von Rhein, Chicago Tribune, October 8, 2014 Keith Jameson aims for and achieves a subtle pathos as the befuddled prompter Monsieur Taupe. —Jason T. McVicker, GBOpera, October 9, 2014

As Henry Snibblesworth in The Classical Style: An Opera (of sorts) at Ojai Music Festival:

Keith Jameson played the musicologist, Snibblesworth, the butt of everybody’s humor, with infuriating versatility. —Simon Williams, Opera News, September, 2014 Keith Jameson (Bardolfo in the Met’s recent HD broadcast of Falstaff) lent a finely tuned tenor to Snibblesworth, the musicology student earnest in his knowledge of facts and clueless to the emotional majesty of the music. —Harvey Steiman, Seen and Heard International, June 23, 2014 Tenor Keith Jameson’s wannabe-musicologist Snibblesworth was so effective, I wanted to run onstage and strangle his obnoxious character. —Jeff Dunn, San Francisco Classical Voice, June 20, 2014

As the Four Servants in The Tales of Hoffmann at Seattle Opera:

Keith Jameson, cast as the four servants, was superb. The four were utterly different in characterization, alike in being beautifully sung. —Mark Mandel, Opera News, May 3, 2014 Keith Jameson put an R2D2 spin on Cochenille, but was equally effective as Andrès, Frantz, and Pitichinaccio. —James Bash, Northwest Reverb, May 11, 2014 Another debut performer, tenor Keith Jameson, deserves special praise for making each of his four character roles memorable. His sound while singing an aria by the deaf servant Frantz was perfectly shaped to sound indeed like an old man, but was at the same time absolutely lovely in tone and lyric ease. —Rod Parke, Seattle Gay News, May 9, 2014 The supporting cast was particularly well chosen, most notably the Crespel of Arthur Woodley, Tichina Vaughn as Antonia’s mother, Steven Cole’s Spalanzani, and Keith Jameson in a quartet of roles. -Melinda Bargreen, The Seattle Times, May 5, 2014

As the Novice in Billy Budd at Los Angeles Opera:

Keith Jameson sang the Novice with a sleek tenor voice and was exceptionally sympathetic. —Matthew Richard Martinez, Bachtrack.com, February 2, 2014  And as the stricken and fearful Novice, Keith Jameson, with his cowered body language and agile tenor, embodied the unwilling instrument of Claggart’s scheme to compromise Billy. —Jane Rosenberg, Seen and Heard International, February 22, 2014 Besides Richard Croft – three tenors shone: Greg Fedderly (Red Whiskers), Dmitruk, again (Maintop), and especially Keith Jameson (Novice). —David Shengold, Gay City News, April 15, 2014

As Basilio in Le Nozze di Figaro at The Santa Fe Opera:

Keith Jameson was right on the mark as Don Basilio, as he seems to be in every character role he touches. —James M. Keller, The Santa Fe New Mexican, July 1, 2013 The ever reliable Keith Jameson oils his way around the stage as Basilio. —John Stege, Santa Fe Reporter, July 10, 2013

As Uriel in the new recording of Haydn’s “The Creation” with Boston Baroque:

From start to finish the three vocal soloists, Americans all, project the oratorio’s original German text with clarity and point. Each singer phrases the vocal line with unfettered elegance. Keith Jameson’s Uriel exhibits a combination of bright tone and sweetness that enlivens his every utterance. Particularly memorable is the opening of Part Three, in which the tenor’s first lines of recitative — following Haydn’s gentle orchestral introduction — are shaped with the utmost sensitivity. —Roger Pines, Opera News, December, 2012 Martin Pearlman’s expert Boston players and vocalists—Deas; deft, ultra-charming Met tenor Keith Jameson; and springwater-clear soprano Amanda Forsythe, who aces her ravishing arias and scatters delightful trills—make this well-recorded set a delight. —David Shengold, Time Out New York, July 30, 2012

As Sancho Panza in “Man of La Mancha” with Greenwood Community Theatre, SC:

Jameson portrays Quixote’s side-kick Sancho Panza with a telling glint in his eye and a splendidly brilliant tenor voice in “The Missive,” “I Really Like Him” and “A Little Gossip.” Jameson’s boyish looks and quick humor are the fitting complement to Nat Chandler’s (Quixote) striking features and good intentions. —Lila Noonkester, The Index Journal, June 21, 2012

As Osman in Handel’s “Almira” with operamission, NYC:

The lyric tenor Keith Jameson was excellent as Osman. —Anthony Tommasini, The New York Times, May 30, 2012 Keith Jameson, who recently shone as the Novice in the MET’s Billy Budd, revealed a surprisingly accomplished florid technique while fussing and fuming amusingly as Osman, the “long-lost” Fernando’s brother. —DeCaffarelli, ParterreBox, May 28, 2012

As the Novice in Billy Budd at the Metropolitan Opera:

The sweet-voiced tenor Keith Jameson was heartbreaking as the fearful novice who bungles into trouble and is flogged. —Anthony Tommasini, The New York Times, May 6, 2012 Best of all was Keith Jameson as the tormented Novice, who betrays Billy. His light tenor skimmed effortlessly to the Met’s back row. —James Jorden, New York Post, May 7, 2012 Keith Jameson was the scene stealer of the night with a beautifully sung Novice. —Robert Walport, The Tyro Theatre Critic, May 11, 2012 Keith Jameson was impressive as the Novice, the weak-willed sailor who does Claggart’s dirty work. —Mike Silverman, Associated Press, May 6, 2012

As Grandpa Joe in The Golden Ticket with Atlanta Opera:

Keith Jameson’s Grandpa Joe was beautifully sung and left us wanting more. —Stephanie Adrian, Opera News, May, 2012

As Nicolas in Britten’s Saint Nicolas with The Greenville Chorale:

Saint Nicolas is portrayed by a tenor soloist – Keith Jameson, in this performance. Jameson, a Furman University graduate with an international career, has a bright, ringing sound. His clarion tenor was particularly well-suited for Nicolas’ often-declamatory narration. —Paul Hyde, The Greenville News, November 6, 2011

As Uriel in Haydn’s The Creation with Boston Baroque:

Martin Pearlman had a stellar lineup of soloists: soprano Amanda Forsythe as Gabriel, tenor Keith Jameson as Uriel, and bass-baritone Kevin Deas as Raphael, the three archangels… Jameson was a youthfully earnest Uriel, by turns callow and authoritative. —Jeffrey Gantz, The Boston Globe, October 24, 2011

An inspired lineup of soloists – soprano Amanda Forsythe, tenor Keith Jameson, and bass-baritone Kevin Deas – joined conductor Martin Pearlman and the ensemble in a concert that made clear the oratorio’s stature as one of the peaks of Haydn’s oeuvre. Jameson’s bright tenor was evocative of his subject Uriel, an archangel of poetry. He gave a nuanced performance, bringing a completely different tonal expression to the final recitative that fit perfectly with the libretto. —Susie Y. Kim, Boston Classical Reivew, October 23, 2011

Three estimable soloists joined the ensemble: soprano Amanda Forsythe, tenot Keith Jameson, and bass Kevin Deas. Tenor Keith Jameson’s warm, round sound gave voice to the angel Uriel’s graceful recitatives and arias. —Joel Schwindt, The Boston Musical Intelligencer, October 23, 2011

Fortunately, Boston Baroque had brought an A-team of soloists to this particular game – soprano Amanda Forsythe shared the stage with tenor Keith Jameson and bass-baritone Kevin Deas… and Jameson had his best moments in Eden, too, singing of the creation of the First Couple with a ravishingly sophisticated radiance. The evening ended just as it should – on a note of poignant, innocent sweetness (Eve and Adam are just about to be tempted by that notorious apple). —Thomas Garvey, The Hub Review, October 25, 2011

It’s hard to imagine a more blessedly well-matched trio of vocal soloists, both technically and temperamentally. Keith Jameson’s strong but sweet tenor excelled in Uriel’s enthusiastic description of the creation of Man. —Lloyd Schwartz, The Boston Phoenix, October 26, 2011

As Triquet in Eugene Onegin with Los Angeles Opera:

Keith Jameson provided a delightful cameo as Monsieur Triquet. —Simon Williams, Opera News, December, 2011

Keith Jameson was a silky voiced Triquet. —Estelle Gilson, Operatoday.com, October 2, 2011

Keith Jameson’s Monsieur Triquet added a sensitivity and tenderness to the Tatiana Couplets in Act II that caused time to stand still with his interpretation. —Leticia Marie Sanchez, culturalcocktailhour, September 19, 2011

As Mosquito/Schoolmaster in The Cunning Little Vixen with the New York Philharmonic:

The tenor Keith Jameson, singing with impeccable diction, captures the pining schoolmaster’s haplessness. —Anthony Tommasini, The New York Times, June 23, 2011

Keith Jameson, as the Schoolmaster (and, earlier, as a gleefully feasting mosquito) displayed appealing vocal vibrancy and a knack for physical comedy. —Joshua Rosenbaum, Opera News, June 23, 2011 Tenor Keith Jameson was outstanding in the double roles of the Mosquito and the Schoolmaster. —Mike Silverman, The Associated Press, June 23, 2011 Tenor Keith Jameson made a tart cameo of the lovesick Schoolmaster. —James Jorden, New York Post, June 23, 2011

Tenor Keith Jameson had an endearing quality as the drunken Schoolmaster. —Howard Kissel, The Huffington Post, June 28, 2011

As Flute/Thisbe in A Midsummer Night’s Dream at Lyric Opera of Chicago:

The “rude mechanicals” (led by the endearingly obnoxious, though scrupulously musical Bottom of Peter Rose) predictably stole the evening. Keith Jameson’s coruscating melismas in Flute’s parody of bel canto insanity were particularly impressive, as was a winning company debut by James Kryshak as Snout. Sam Handley voiced Quince with notable beauty. Paul Sholten’s resonant Starveling and Wilbur Pauley’s dimwitted Snug rounded out the group delightfully. —Mark Thomas Ketterson, Opera News, February, 2011 The rustics were neatly characterized, particularly tenor Keith Jameson’s bellows-mender, hilariously campy when his Flute as Thisbe commits mock-suicide. —John von Rhein, The Chicago Tribune, November 7, 2010 Keith Jameson was equally funny, his high tenor well suited to the timid Flute. —Lawrence A. Johnson, The Classical Review, November 6, 2010

As Clarín in Life Is A Dream at The Santa Fe Opera:

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, 2010 All 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, 2010

As 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, 2010

The 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, 2010

Keith Jameson’s Goro is the perfect snake of a marriage broker. —Rodney Punt, The Huffington Post, July 21, 2010

As 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, 2010

As Pietro in Die Gezeichneten at Los Angeles Opera:

Another stand out in the smaller roles was Keith Jameson, who was deliciously evil as Pietro. —Charlise Tiee, The Opera Tattler, April 11, 2010

As 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, 2009

Tenor Keith Jameson was the most entrancing of the cast as the stammering and not-too-bright Vašek. —Caldwell Titcomb, The Arts Fuse, May 9, 2009

Jameson 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, 2009

Superb 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, 2009

As 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, 2009

As 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, 2009

Keith Jameson used his short aria as Beppe to enchant the audience with a fluid, golden voice. —Evan Kuchar, Chicagocritic.com., February 14, 2009

Keith Jameson’s Beppe boasted a refreshingly appealing timbre. —Mark Thomas Ketterson, Opera News, May 2009

Keith 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, 2009

As 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, 2008

Keith 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, 2008

As 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, 2008

As 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 2008

As 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 2008

American tenor Keith Jameson nails Monsieur Triquet’s ridiculous French song in his Lyric debut. —Andrew Patner, The Chicago Sun-Times, March 2008

Notable company debuts…Keith Jameson as Triquet, his little ditty adding a splash of glitter amid the gloom. —Mark Thomas Ketterson, Opera News, May, 2008

As 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, 2006

With 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

Newcomers include the US tenor Keith Jameson who, as the wandering minstrel Nanki-Poo, sings his songs with a crystal-clear tenor, lighting up the stage with a dippy smile as he pursues ‘merital heppiness’ with Sarah Tynan’s sweetly arch Yum-Yum —Erica Jeal, The Guardian, London, February 7, 2006

As Candide at New York City Opera:

Tenor Keith Jameson, a City Opera local, has found his best role to date in Candide. His sweet voice and innocent bearing made him instantly likeable. —Classicstoday.com, March 10, 2005

Keith Jameson, the boyish, sweet-voiced tenor playing Candide, amply captures the hero’s disarming charm and foolish gullibility. —Anthony Tommasini, The New York Times, March 10, 2005

Keith Jameson plays Candide with boyish charm, along with mellifluous high notes. —Julius Novick, Back Stage, March 31, 2005

The two romantic leads were pretty much ideally cast with key company members. Keith Jameson brought a thousand-watt smile, commendably clear diction and lovely lyric singing to Candide’s travails and beautiful songs. Anna Christy made a delectable Cunegonde physically and vocally, her coloratura crisp and her tone pristine. —David Shengold, Opera News, May, 2005

As Candide, Keith Jameson offers crystalline enunciation in both dialogue and song, warmly beautiful tone and a sweetly hapless presence. —New York Newsday, March 12, 2005

Keith Jameson seemed wonderful in the title role, fresh of face and voice and nimble of foot…complete with sweet intonations and masterly management of emotions. —The New York Sun, March 10, 2005

As Tobias in Sweeney Todd at New York City Opera

As Tobias, the half-witted boy who dotes on Mrs. Lovett, Keith Jameson lifted ‘Not While I’m Around’ to dizzying heights. —The New York Post, March 11, 2004

The most surprisingly strong character of the show, however, turns out to be Keith Jameson’s Tobias, a simpleton who follows around a fake Italian barber…Jameson’s street slang and boyish impetuosity render the show’s most touching song, ‘Not While I’m Around,’ a heartfelt affair…The song rightly becomes emblematic of his character – rather than simply a showpiece. —The New York Sun, March 15, 2004

Keith Jameson deployed his clear lyric tenor to lovely effect on the show’s most famous ballad, ‘Not While I’m Around.’ —Daily Variety

Keith Jameson made a touching Tobias and showed that ‘Not While I’m Around’ works best when served straight. —Fred Cohn, Opera News, June, 2004

As Oronte in Alcina at the New York City Opera:

Tenor Keith Jameson brought major pizzazz to the role of Oronte, rattling out his coloratura with metronomic accuracy and an infectious sense of fun. —Gay City News, September 26, 2003

Keith Jameson’s firmly focused tenor as Oronte proves a welcome masculine contrast. —New York Magazine, September 29, 2003

Keith Jameson, whose bright tenor and forthright style, made Oronte lively and credible —John W. Freeman, Opera News, December, 2003

As Nanki-Poo in The Mikado at New York City Opera:

The lead couple were adorably cast with Keith Jameson, who upheld earlier good impressions of his singing with ringing tones… —Anne Midgette, The New York Times, October 21, 2003 Nanki-Poo, our traveling minstrel, really the Mikado’s son, was sung with wide-eyed innocence, bright tone and an even range by tenor Keith Jameson, spit-curl in place. —Robert Levine, classicstoday.com, October 22, 2003

As Bob Boles in Peter Grimes at The Santa Fe Opera:

Judith Christin was at her most amusing as the nosy Mrs. Sedley; Jill Grove, a resonantly trenchant Auntie, and Keith Jameson, an unusually sonorous and lyrical Bob Boles, made exceptional contributions. —David Shengold, Gay City News, September 1, 2005 Stellar singer-actors filled the other roles: Keith Jameson’s fanatical Boles, using religion to hide his own demons. —Craig Smith, The New Mexican, July 25, 2005

As Pong in Turandot at The Santa Fe Opera:

Vocally, we had an excellent trio of singing actors as the imperial ministers; Hyung Yun’s Ping, David Cangelosi’s Pang, and Keith Jameson’s Pong were absolutely first-rate. Their Act II trio was a symphony of song and color. —Craig Smith, The New Mexican, July 3, 2005

As Ugone in Flavio at New York City Opera:

…tenor Keith Jameson, with exciting, accurate coloratura and nice stage presence as Ugone, deserves more attention. —Robert Levine, classicstoday.com, April 23, 2003

In The Good Soldier Schweik at Glimmerglass Opera:

Another standout was Keith Jameson who made a menacing and clarion-voiced Secret Policeman. —The Syracuse Post-Standard, July 31, 2003 As the Secret Policeman, Keith Jameson wound a pleasingly ductile light tenor up to a nimble high C. —David Shengold, classicstoday.com, August 1, 2003

As Goro in Madama Butterfly at New York City Opera:

Keith Jameson was a strong Goro with a striking legato. —Anne Midgette, The New York Times, September 24, 2002

As Colonel Fairfax in The Yeomen of the Guard at Symphony Space:

Mr. Jameson as Fairfax was a standout for his bright, rich tenor and clear diction. —The New York Times, May 3, 2003

As Anfinomo in Il Ritorno d’Ulisse in Patria at New York City Opera

Keith Jameson’s assured and ringing tenor stood out in the role of the suitor Anfinomo —The Wall Street Journal, November 11, 2001

In Messiah with Boston Baroque:

New tenor Keith Jameson led off with some ringing, technically accomplished, and fervent vocalism; he’s a find. —Richard Dryer, The Boston Globe, December 21, 2004 Jameson sounded confident and heroic, opening with ‘Comfort Ye’ and later singing ‘Behold and See.’ —Boston Herald, December 21, 2004

In Messiah with Phoenix Symphony

Jameson’s ringing ‘Ev’ry valley’ set a high standard with its fluency and power —The Arizona Republic, December 14, 1999