Scroll down for: Chorus Master • Conductor • Pianist
.... as Chorus Master ...
Opera News
"Under Keene’s direction, the chorus sang with brilliance throughout." San Francisco Opera
100th Anniversary Concert
"Chorus Director John Keene drew superb contributions from his forty-member ensemble,"
El Último Sueño de Frida y Diego
"John Keene's chorus, having made essential contributions throughout the fall season, once again
sang with authority as grieving onlookers and lost souls." Orfeo ed Euridice SFO
" Under John Keene's direction, the San Francisco Opera Chorus sang with tremendous fervor."
Antony and Cleopatra - John Adams (world premiere)
“... the Seattle Opera Chorus was glorious." Les Contes d'Hoffmann
"John Keene drew the best of sounds from the Seattle Opera Chorus, which shone in the Act I prisoners’ scene
and in the blazing choral symphony that ends the opera.“ Fidelio
"The chorus sang the hymn of death as movingly as it did "Va, pensiero" in the season-opening Nabucco."
Maria Stuarda
“The all-Spanish cast worked seamlessly as a team, and the FGO chorus’s singing was beyond reproach under
the direction of John Keene.” Luisa Fernanda
“FGO’s chorus sounded polished and disciplined under the direction of John Keene.” Turandot
“The chorus, led by John Keene, was vocally eloquent in Pagliacci.”
“The influence of newly appointed chorus master John Keene appears to have made a respectable chorus better.
In their Act I and Act II opportunities, the chorus contributed with dramatic and musical impact.” La Traviata
“The chorus was a terrific asset…the rich-toned chorus got to encore ‘Va, pensiero’.” Nabucco
MSN/Local News Matters
“…orchestral playing and choral forces that can only be described as heavenly.” Lohengrin SFO
Parterre Box
“The San Francisco Opera Chorus, led by John Keene, had never sounded better, as they sang (and moved)
with power and conviction as the residents of Brabant and made an essential contribution
to the overall success of the show.” Lohengrin
Bachtrack
"John Keene’s chorus was superb. " Aïda
"Seattle Opera’s Chorus was in peak form for the large role it plays in this score." Semele
San Francisco Chronicle
"The Opera Chorus, singing splendidly under its new director, John Keene, brought vigor and force
to the 'Anvil Chorus" from 'Trovatore'." Eun Sun Kim conducts Verdi
Miami Herald
“The singing of the FGO Chorus under John Keene’s direction was exceptional.” Lakmé
South Florida Classical Review
“The opera calls on the chorus to play a critical role both musically and dramatically. Under Chorus Master John Keene, they delivered a superb performance - light, crisp and articulate in describing the “phantom” seen in the village, warm and well-balanced as the villagers express hope that the count will heed their pleas on behalf of Amina.” La Sonnambula
“The chorus … gave a particularly fine performance, especially as the plot and music darkened, with its best work coming
in the climactic fight scene, where it mourns two deaths and the exile of Roméo,
singing in impassioned, rich, well-balanced tones.” Roméo et Juliette
“The zarzuela gives a significant role to the chorus as Madrid residents and rural farmhands. Under the direction of John Keene,
the FGO Chorus delivered resoundingly, with a confident, vocally strong performance
that was one of the highlights of the production.” Luisa Fernanda
“In his first assignment as chorus master John Keene elicited terrific singing from the gifted FGO Chorus,
with particularly fine work in the party scene of Act I.” La Traviata
“John Keene’s chorus contributed energetic, boisterous and realistically drawn ensemble singing.” La Bohème
SunPost Weekly
“As usual, the Florida Grand Opera Chorus was outstanding, both in terms of strength of singing
and inspired, eloquent stage movement.” Roméo et Juliette
American Record Guide
“John Keene, director of the Apprentice Artist Program, was responsible for the unfailing excellence of the chorus
in all four languages of this season.” Sarasota Opera
“Verdi’s skill with choruses is unique, and Sarasota Opera’s chorus, prepared by John Keene, did ample justice to the great climax
at the close of Act 3 and the vivid stretch near the end of Act 4.” Les Vêpres Siciliennes
Opera Now
“Both musically and in terms of their command of languages, these artists formed one of the best-drilled and scrupulously accurate ensembles of choristers and soloists I have encountered outside a full-time company.” Sarasota Opera
Das Opernglas
“The famous chorus scene ‘Va, pensiero’…was in addition also so well sung that the public demanded a da capo
which was actually given to it!” Nabucco
“The Sarasota chorus was well-rehearsed and mastered its part with stylistic accuracy.” Martha
Opera Canada
“Chorus preparation by John Keene was meticulous for all productions.” Sarasota Opera
Diario Las Americas
“A highlight was also the magnificent choral performance to which the Chorus Master John Keene
has accustomed us.” Roméo et Juliette
Northwest Reverb
"The Seattle Opera Chorus, rehearsed to a T by John Keene, sang with genuine fervor
and stamped a seal on the big choral numbers near the end of the Act II just before Mary met her doom." Maria Stuarda
"...the stellar sound from the chorus, expertly prepared by John Keene..." Tosca
Seattle Times
The chorus is simply terrific, whether the task involves grappling with the high seas, roistering in celebration
afterward, or engaging in some cleverly stylized spinning. There’s no room for error in these fast-moving scenes,
and the chorus manages all the synchronized action while singing remarkably well
(a tip of the hat to chorusmaster John Keene)." Der Fliegende Hollander
"The chorus, brilliantly responsive to all the music and text, sang and acted with sizzling energy and a sure sense of drama."
Le Comte Ory
"The chorus, prepared by John Keene, was absolutely riveting in the last act, with powerful singing
and memorable dramatic impact." Maria Stuarda
"The chorus, prepared by John Keene, did a masterly job with the famous “Va, pensiero,” in one of the production’s
most stirring scenes." Nabucco
"Jose Maria] Condemi’s staging and John Keene’s chorus combined for maximum impact in the “Te Deum” scene
at the end of Act I, and the audience buzz at the first intermission was positively electric." Tosca
“Bravo to Chorus Master John Keene.” La Fille du Régiment
"The chorus, prepared by John Keene and absolutely essential to the success of Aida, sang with strength and accuracy."
"Chorus Master John Keene's singers were vitally engaged in the action and vocally excellent." Les Contes d'Hoffmann
"The chorus, always a vital force in Il Trovatore, sang with spirit and accuracy, prepared by chorusmaster John Keene."
Opera Today
“Finally the role of the citizens of Brabant was played by the San Francisco Opera Chorus. It is one of the biggest
and most difficult chorus roles in the repertory. Along with the San Francisco Opera’s orchestra, its chorus is world class.
The chorus role was executed with absolute precision within complex choreography, in exquisite voice.” Lohengrin
“FGO’s ensemble singing overall was as good as it has been since 2005 and John Keene’s chorus put on a performance
of all-around distinction.” Les Contes d’Hoffmann
Opera Warhorses
"The Seattle Opera Orchestra, under the secure direction of Carlo Montanaro performed magnificently,
as did the Seattle Opera Chorus directed by John Keene." Il Trovatore
Classical Voice North America
“The chorus, prepared expertly by John Keene, sang with gusto.” La Fille du Régiment
Oregon Music News
“There was also as much fun for the chorus in this work as one is likely to find anywhere, and they sang with true pathos
and sensitivity as well.” La Fille du Régiment
Seen and Heard International
“The chorus became a powerful character itself, whether portraying soldiers,
the denizens of a wandering Roma camp, or nuns, and in a particularly touching ‘Miserere’.
I have seldom heard these familiar choruses with such vitality and musical precision.” Il Trovatore SFO
"Both in the mordantly emotive prisoners’ chorus and in the work’s spirit-lifting final scene, Seattle Opera’s chorus,
trained on this occasion by John Keene, covered themselves with glory.” Fidelio
"And in Act I, the excellent Seattle Opera Chorus sang 'Te Deum' beautifully." Tosca
Queen Anne News
"The Seattle Opera Chorus was, as usual, spectacular, particularly singing in anger and terror
during a violent storm." Les Pêcheurs des Perles
"The Seattle Opera Chorus, as rehearsed by chorus master John Keene, also drew enthusiastic applause
for its lovely supporting work, particularly its thrilling rendition of the 'Te Deum'." Tosca
"One of the most breathtakingly beautiful moments belonged to the Seattle Opera Men’s Chorus,
as rehearsed by John Keene.” Fidelio
“The male chorus rightfully drew heightened applause at the final curtain, both for their nuanced singing
(thanks to chorusmaster John Keene) and for their highly physical roles as the regiment that raised Marie.” La Fille du Régiment
The SunBreak
"The singing is magnificent from everybody, chorus included ... trained by John Keene, it outdid itself
and received prolonged applause." Nabucco
Seattle Weekly News
"It’s as impressive a choral performance, finely detailed and sonically ravishing,
as I can recall from the company." Nabucco
Miami Clásica
“The (production) is topped off by an excellent performance of the FGO Chorus directed by John Keene, who opted for
soft singing at the beginning to forewarn the audience of the tragic events to come.” Roméo et Juliett)
“Special mention goes to the FGO Chorus under the direction of John Keene,
showing exemplary Castilian diction.” Luisa Fernanda
Palm Beach ArtsPaper
“John Keene’s chorus sang the big second act brindisi expertly.” La Rondine
“FGO’s chorus, directed by John Keene, deserves high marks for its work throughout the opera; many of the choral moments
can sound tedious or corny if not sung with conviction and an understanding of Gounod’s style. But thankfully,
that was not the case here, with the chorus singing everything from the opening prologue material to
the cries of Justice! in the duel scene with precision and well-rounded vocalizing.” Roméo et Juliette
"The choral singing, prepared by John Keene, was very accomplished for the most part, particularly in the
Act II sextet and that catchy choral song, Per te d’immenso giubilo." Lucia di Lammermoor
... as Conductor ...
"Seattle Opera’s John Keene deftly conducts ... with precision and impact." Seattle Times
“…the performers…often responded affectingly under John Keene’s direction.” Opera News
“After two and a half decades I was delighted when the excellent LSU Opera gave my opera WILLIE STARK a stirring and convincing revival, both musically and theatrically. Personally I am indebted to its excellent, dramatically engaged young singing actors, its superb, highly disciplined chorus, and the enviable level of the orchestral players. It hardly needs saying that an operatic performance of this quality in a university setting reflects the talents and experience of both a stage director and conductor who bring considerable professional experience to their tasks.” Carlisle Floyd, composer
“…the performance just about impeccable…the orchestra was exceptional, led by John Keene.” The Day (CT)
“Kudos to conductor John Keene, not only for fleshing out the dramatic, often humorous detail contained in so much of this music, but also for keeping the tempos appropriate throughout the evening. The pacing of the opera was forward without haste, energetic without hurry… Moreover, Keene and the singers were…in agreement and well-coordinated, no doubt because he seemed sensitive to their needs. His debut with this company has considerable promise.” Columbus Dispatch
... as Pianist ...
Cleveland Plain Dealer
“Pianist Keene was the very model of a capable and sympathetic piano partner.”
San Francisco Chronicle
“…beautifully supported by the highly musical, accurate pianist John Keene. Keene struck all the right moods
as well as all the right notes.”
Washington Post
“Pianist John Keene was an excellent partner throughout, but particularly effective
in the selection from [Anthony Davis’] “X”.”
“One strong impression: John Keene’s playing at the piano, especially in the Wolf songs…was rich and insightful.
He should come back and play a recital of his own.”
New York Times
“The recitative accompaniments were played tastefully by John Keene on an 1800 Clementi piano.”
Kansas City Star
“John Keene’s harpsichord was alert and stylish, and commendably, it was heard throughout the orchestral writing
as well as in the recitatives.”
The State (Columbia, SC)
“…musicians played handsomely and with elàn, abetted in no small way by the outstanding continuo of
John Keene, who also served as the music director and vocal coach.”