October 2016
"Edmonton Opera’s Turandot is an exquisite tour de force that is a must see for opera lovers...a rich and absorbing portrayal of Timur by Giles Tomkins."
Kevin Solez, Vue Weekly
Puccini's
Turandot

June 2016
"The Hobbit is an impressive, beautifully performed operatic production of Tolkien’s fantasy novel...Gandalf (grownup Giles Tomkins) was instantly recognizable with his tall hat, paternal presence and booming voice."
Catherine Jan, Mooney On Theatre
Burry's
The Hobbit 

February 2016
"Pacific Opera Victoria has hatched a lively, springy Barber worth seeking out…Bass-baritone Giles Tomkins, as Don Basilio, sang well."
Adrian Chamberlain, Victoria Times Colonist
Rossini's
The Barber of Seville

April 2015

"Bass - baritone Giles Tomkins making his Edmonton Opera debut, deserved every bit of the especially loud reception from the audience for his Raimondo…”
Bill Rankin, Opera Canada
Donizetti's
Lucia di Lammermoor

April 2015
"Strong support came from bass-baritone Giles Tomkins as Raimondo…"
Mark Morris, Edmonton Journal
Donizetti's
Lucia di Lammermoor

February 2015
"Tomkins has a generous and clear voice which he used to good effect in his rich and gentle arias."
Elizabeth Paterson, Review Vancouver
Donizetti's
Lucia di Lammermoor

January 2015
"Giles Tomkins’s Uncle Westley, the adulterous head of the household, has a comforting, enveloping bass-baritone and a great deal of charm."
Joshua Rosenblum, Opera News
Burry's
Baby Kintyre (CD Review)

December 2014
"In the short title role of the Mikado, bass-baritone Giles Tomkins gave an impressive performance and acted up a storm - his Mikado is good natured and without undue exaggeration."
Joseph So, La Scena Musicale
Gilbert & Sullivan's
The Mikado

December 2014
"Another standout for me was bass-baritone Giles Tomkins as the Mikado...He had a booming clarity when he sang, giving him due authority to go with his tall (and wide, thanks to his costume!) presence. His speaking voice was just as satisfying, but I loved best his fantastic, quasi-evil belly laugh..."
Jenna Douglas, Schmopera
Gilbert & Sullivan's
The Mikado

September 2014
"Giles Tomkins played a number of roles and was most effective as the escaped prisoner Angelotti looking ragged and hungry as he scurried about the stage looking for places to hide."
Jim Murchison, The Charlebois Post
Puccini's Tosca

September 2014
"Comprimari are solid in all acts. Giles Tomkins is a suitably tormented Angelotti."
Opera Going Toronto, www.operagoto.com
Puccini's Tosca

April 2014
"Bass-baritone Giles Tomkins crafted a convincing philosopher Colline, who particularly shone during his aria “Vecchia zimarra.” 
Holly Harris, Winnipeg Free Press
Puccini's La Bohème

March 2014
"The arrival of the stone guest was as incisive as one could hope for … effective, otherworldly and chilling—and well sung by Giles Tomkins."
Harvey De Roo, www.vanclassicalmusic.com
Mozart's Don Giovanni

December 2013
"There are also 13 solo vocalists, and the casting, both vocally and theatrically, was exemplary … bass-baritone Giles Tomkins was a sturdy and authoritative Superintendent Budd"
Robert Jordan, Opera Canada
Britten's Albert Herring

December 2012

"Giles Tomkins' portrait of the Sergeant of Police was a comic triumph...it was, altogether, an evening to make me regret all the years I have wasted not enjoying Gilbert and Sullivan."
Bernard Jacobson, Seen and Heard International
Gilbert & Sullivan's The Pirates of Penzance

December 2012
"Giles Tomkins handles his role as Sergeant of Police with glorious goofiness, combining with members of the Vancouver Opera Chorus with that ludicrously charming character song A Policeman's Lot Is Not a Happy One"
John Jane, Review Vancouver
Gilbert & Sullivan's The Pirates of Penzance

January 2012
"Giles Tomkins' opportunistic Don Basilio (his account of "La Calunnia" was first rate)... rounded out the accomplished cast very well. A sparkling production."
Wayne Gooding, Opera Canada
Rossini's Il Barbiere di Siviglia

December 2011
“Bass Baritone Giles Tomkins brought solemnity and reverence to his work on the 'The People That Walked in Darkness' and 'Thou Art Gone Up On High'. The authority and power he brought to the stunning piece, 'The Trumpet Shall Sound' was staggering. With trumpet playing of David Kjar underpinning both Tomkins singing and the orchestral scoring the effect was magisterial. Tomkins voice is rich with power but possessed of a softness that that leaves it free of any harshness.”
Brian Hay, norules-nolights.com
Handel's Messiah

December 2011
“Bass Giles Tomkins… has a strong, resonant voice… he sang brilliantly, fully in command of tone, phrasing and expression on ‘Why do the nations so furiously rage together’ and imparting a reverential hush to ‘Behold I tell you a mystery’ (Part III).”
Stephen Pedersen, The Halifax Herald
Handel's Messiah

October 2011
"Don Basilio in the able hands of Giles Tomkins is also a creation of new and surprising qualities, at least a far as I’ve experienced. Here is a man with constantly startled eyeballs who lays on his innuendo like sticky jam, which is doubly funny in a beautifully sung bass-baritone. He glides as he walks and is hilarious as an understated presence."
James Strecker, jamesstrecker.com
Rossini's Il Barbiere di Siviglia

May 2011
“Vancouver Opera’s La Traviata reminds you why a classic is a joy forever...the others in the vocal cast all do wonderful work, particularly Giles Tomkins as Doctor Grenvil.”
Lloyd Dykk, The Georgia Straight
Verdi’s La Traviata

April 2011
“The Damnation of Faust was nothing less than sensational in Vancouver...bass-baritone Giles Tomkins in the minor role of Brander was impressive.”
Lloyd Dykk, The Georgia Straight
Berlioz’ The Damnation of Faust

March 2011
“Giles Tomkins as the Devil’s assistant Marbuel is fulfilling his promise with a polished, commanding voice...as for diction, it was almost word perfect.”
Paula Citron, Classical 96.3 FM
Dvorak’s The Devil & Kate

March 2011
“Thirteen Strings delivers a jolly good time...Tomkins has a dark, full voice that suited the material well...Dover Beach had a lot going for it in Tuesday’s rendition, not the least of which was Tomkins’ assured singing.”
Richard Todd, The Ottawa Citizen
Concert Review Thirteen Strings with Giles Tomkins

January 2011
“Giles Tomkins' Colline received prolonged applause after his beautifully sung ‘Vecchia Zimarra’.”
Dawn Martens, Opera Canada
Puccini's La Boheme

April 2009

"Music in this piece is mostly associated with magic and celebration, and the tiny orchestra (led by artistic director Larry Beckwith) performed Purcell's score as if it were a festive catalogue of marvels ... Bass Giles Tomkins shivered effectively through the famous ice song, shadowed by a masked dancer who gradually thawed as the scene did ... Toronto Masque Theatre needs, and this production deserves, a co-producer with the resources to realize the exciting potential shown on Thursday. Stratford Festival, what are you waiting for?"
Robert Everett-Green, The Globe & Mail
Purcell's King Arthur

March 2009

Michael Johnson, The Classical Music Network (www.concertonet.com)
James Rolfe’s Inês
“The strongest performer is bass-baritone Giles Tomkins who has a solid, rich voice and clear diction.”
 
May 2008
Kenneth Walton, The Scotsman
Verdi’s Falstaff
“... a dazzling staging that combines earthy humour and a theatricality that buzzes so intensely that the three-plus hours sweep by in a flash ... Giles Tomkins is a bold but sycophantic Pistola ...”
 
May 2008
“...under Kevin Mallon, the Toronto-based Aradia Ensemble play with verve and rhythmic imagination, while soprano Nicole Bower and bass Giles Tomkins are the pick of a personable bunch of young soloists. A Purcell bargain.”
Richard Wigmore, The Daily Telegraph
CD Review of “Purcell’s Theatre Music Volume #1”

May 2008
“...a first class recording of highly charged and melody-rich music played with great style and originality by Mallon’s forces... Giles Tomkins’s expressive bass seems ideally suited to this repertoire for the words are always clear and amply endowed with meaning...”
Mark Sealey, Music Web International (www.musicweb-international.com)
CD Review of Purcell’s Theatre Music Volume #1”
 
May 2008
“...a rewarding performance ... Giles Tomkins’s Gualtiero has riveting authority ...”
Nicholas Anderson, BBC Music Magazine
CD Review of Vivaldi’s Griselda
 
May 2008
“Of the men Giles Tomkins as Gualtiero is expressively dramatic ... no one can deny that the aria Se ria procella (CD 1 tr. 4) is thrilling and he manages the extensive runs with assurance.”
Göran Forsling, Music Web International (www.musicweb-international.com)
CD Review of Vivaldi’s Griselda
 
October 2007
"...we get true wit rather than tiresome gags... it is a very beautiful staging, that takes inspiration from the crumbling, pastel-coloured palacios of Havana...Giles Tomkins supplies louche, Lord Lucanesque presence as Don Basilio.”
John Allison, The Sunday Telegraph
Rossini’s Il Barbière di Siviglia

August 2007
“...Giles Tomkins was great as a young Don Alfonso. He never seemed evil the way an older Alfonso easily can...Conductor James Levine brought energy and expertise to the score...This Così is one that you should beg, borrow, or steal your way into tonight”
Jeffrey Johnson, The Hartford Courant
Mozart’s Così Fan Tutte

April 2007
“...Tomkins' rich voice and careful phrasing make nice work of the Lieder (Beethoven’s An die Ferne Geliebte).”
John Terauds, The Toronto Star
CD Review of Beethoven’s An die Ferne Geliebte
 
April 2007
“Tomkins demonstrates an unfailing sensitivity to phrasing essential to the idiom ... he evinces a Fischer-Dieskau-like purity of tone ...”
Robert Franner, Opus Magazine
CD Review of Beethoven’s An die Ferne Geliebte
 
December 2006
“...a special treat was the voice of up and coming, handsome and debonair baritone, Giles Tomkins. He showed that he is equally at home singing either popular or classical music, by leading the audience in a Christmas favourites sing-along ... Performing “Jacob’s Ladder” with back-up by the Elmer Iseler Singers, every note went “higher, higher” showcasing Tomkins’ impressive vocal range. Tomkins’ success on the international stage is almost guaranteed.”
Anna Lisa Eyles, The Live Music Report (www.thelivemusicreport.com)
Concert Review Giles Tomkins & Canadian Brass

June 2006
“...Tomkins employs a clear, reedy tone with characteristically impeccable diction... Billy Joel’s title track (nicely introspective and an impressive late-measure change of register) reveals the promise of greatness to come.  Yet, unquestionably, it’s the Neapolitan warmth of the Donaudy (O Del Mio Amato Ben) that whets the appetite for more.”
S. James Wegg, JWR Reviews (www.jamesweggreview.org)
CD Review “And So It Goes”

December 2005
“Look forward to hearing more of Giles Tomkins, who has developed so appealingly as a young artist.”
Peter Phoa, Opera Canada Magazine
Sokolovic’s The Midnight Court
 
March 2005
“...a droll and clever vision that could grace any opera house... Baritone Giles Tomkins as Somnus was the sole stand-out...”
Paula Citron, Opera Canada Magazine
Handel’s Semele
Site by Cam Craig | © 2009-2016 Giles Tomkins