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Press Reviews

These are just some of the outstanding reviews that Neil Jenkins has received for his operatic performances. These reviews and others can be seen here

Strauss: Salome (Herod)
"Neil Jenkins was a superb Herod, really singing the music instead of guying it, as has been known, but at the same time conveying the tetrarch's superstition and political cunning."
Michael Kennedy, Sunday Telegraph

Strauss: Salome (Herod)
"The most complete performance comes from the Herod of Neil Jenkins. Jenkins bends every note, every phrase, through seemingly infinite shades of bluster, insecurity, and insinuation."
Hilary Finch, The Times

Strauss: Der Rosenkavalier (Valzacchi)
"'Opera Now' readers would expect me to single out - and rightly so - Neil Jenkins as a decidedly Gothic Valzacchi"
Graeme Kay, Opera Now

Puccini: Madam Butterfly (Goro)
"Neil Jenkins contributes a masterly character-study of Goro, the marriage broker."
The Observer

Mozart: Die Zauberflote (Monostatos)
"Neil Jenkins' Monostatos provided some of the most enjoyable singing and certainly the clearest diction of the evening."
Neil Mackay, The Guardian

Monteverdi: The Return of Ulysses (Eumaeus)
"The old shepherd Eumaeus, one of the most wonderful smaller roles in this wonderfully well-supplied opera, is taken now by Neil Jenkins; he is a commanding Monteverdian (I remember with undimmed admiration his Kent Opera Ulysses in the late 1970s), and his focussed energy and disciplined passion light up the stage."
Max Loppert, The Financial Times

Monteverdi: The Return of Ulysses (Eumaeus)
"Neil Jenkins draws the character as well as the lyrical style of Johnny Inkslinger. A very well-judged performance."
William Mann, The Times

Secure top Cs a-plenty came from Neil Jenkins' Count Ory - a fluent and engagingly unscrupulous character.
Michael John White, The Independent

The comic detail is consistently well interpreted and Neil Jenkins's likeable lecher is a treat - a charismatic performer
Jan Whitehead, The Stage

Neil Jenkins' commandingly sung performance in the title role unflinchingly presents Peter Grimes, the tragic fisherman, as a tormented victim of circumstance...
Peter Whitebrook, The Scotsman

Boito: Mefistofele
What a transformation of last week's mincing Dr Caius (in Jonathan Miller's Falstaff) was this tense and wild Grimes, with the mad glitter in his eyes when thwarted but a controlled clarity of voice, intensely moving in his moment of sad musing in the storm scene. Definitely a 'Peter Grimes' not easily forgotten
Felix Aprahamian, The Sunday Times

Boito: Mefistofele
Grimes' great solo in the pub scene was put over with astonishing force but the musical line never lost; every word was clear, the timing of each phrase nicely calculated. Neil Jenkins gives his performance of a lifetime.
Hugo Cole, The Guardian

Wagner: Parsifal
Neil Jenkins as the elderly husband Lord Puff was outstandingly successful in projecting his words and therefore his character
Winton Dean, The Musical Times

Mondonville: Daphnis
...such fine artists as Neil Jenkins sound as though they have been singing Berg all their lives
Rodney Milnes, The Times

Mondonville: Daphnis
...an excellent, poisonous Marquis from Neil Jenkins
David Murray, The Financial Times

Verdi: Falstaff (Fenton)
Neil Jenkins' Sellem was witty and closely observed as well as admirably sung.
Michael Kennedy, The Sunday Telegraph

Verdi: Falstaff (Fenton)
Neil Jenkins was a brilliant auctioneer.
Andrew Porter, The Observer

Weill: Mahagonny (Billy)
Neil Jenkins gave one of the performances of his career, one to match his unforgettable Grimes in Nicholas Hytner's production of 'Peter Grimes' for the Brighton Festival. Gracefully phrased, easily projected, every word effortlessly voiced, this was singing of great distinction. And Mr Jenkins crowned his performance with a show-stealing display on the musical glasses.
Elizabeth Forbes, Opera Magazine

Neil Jenkins faces the awesome task of stepping into the roles created for Peter Pears and passes the test with flying colours: he sings beautifully as the cantankerous General and the anonymous singer of the Ballad of the Wingraves.
Hugh Canning, The Sunday Times

The opening lines take the clerk Vitek up to a top B, most beautifully voiced by Neil Jenkins, and from the outset he sets a vocal standard the others match
Rodney Milnes, The Times

Neil Jenkins is an Achilles equally fine in the famous war-cry and in the nostalgic regret for his homeland, which I have never heard so finely realised.
David Cairns, Sunday Telegraph

The audience ended by showing high enthusiasm. That was a tribute to the richly characterised Ulysses of Neil Jenkins.
Arthur Jacobs, Opera

Monteverdi: The Coronation of Poppea (Arnalta)
Neil Jenkins sings Arnalta very beautifully, and is the stateliest, most tight-lipped drag-queen imaginable, like Ronnie Barker at his best. And he keeps his act up through the curtain-calls: when a lewd wolf-whistle greeted him from the gallery, he responded with a shy moue and modestly lowered eyes.
Rodney Milnes, The Times

Donald Swann: Perelandra
"...Neil Jenkins' C.S.Lewis was a particular delight, commanding the platform with perfect diction and expression. Each line found its drama written across his face, and every word carried clearly over the orchstra..."
Opera, September 2009

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