"Tenor Zack Rioux (Spoletta) and bass-baritone Giles Tomkins (Sciarrone) play their roles as Scarpia’s henchmen masterfully, with Tomkins providing a gasp-worthy moment at the end of the opera (#nospoilers)."

Oliver Munar,

Puccini's Tosca



“His unforgettable and poignant farewell to his overcoat in Act IV will go down as one of the best I have heard live or on recording in decades. Sincere, irreverent, consummately musical at every step, he was the role, wearing his status on his sleeve for us all to see...”

Stephan Bonfield, Ludwig van Toronto

Puccini's La bohème


“Tomkins, a boundless source of impeccably timed stage antics, his singing full-bodied and seasoned...”

Ian Ritchie, Opera Going Toronto

Puccini's La bohème


“Giles Tomkins' supple bass-baritone is as dependable as ever and he brings a more complex mixture of emotions to Colline's famous farewell to his coat than is usually the case...”

Christopher Hoile,

Puccini's La bohème


APRIL 2019

“Canadian bass-baritone Giles Tomkins likewise brought dramatic intensity to his role as Don Basilio, Rosina’s vocal tutor and ostensibly Bartolo’s slimy sidekick. His performance of Act I’s 'slander' aria, La calunnia with its famous long crescendo in which he advises Bartolo to smear Count Almaviva’s name, was an early highlight.”

Holly Harris, Winnipeg Free Press

Rossini's The Barber of Seville


“As Don Basilio, Giles Tomkins used his height and long legs to great comedic advantage, at times silly-walking around the stage while singing beautifully, portraying his character’s dissemblance with fervour and glee.”

Neil Wiesensel, Schmopera

Rossini's The Barber of Seville



“… A strong supporting cast — notably Cara McLeod as Annina, and Giles Tomkins as Dr. Grenvil…”

     Mark Morris, Edmonton Journal

     Verdi’s La Traviata


JUNE 2018

“Bass-baritone Giles Tomkins is an outrageously louche Don Basilio, advisor to Bartolo in all matters scandalous.”

     Ian Ritchie, Opera Going Toronto

     Rossini’s The Barber of Seville


“Bass-baritone Giles Tomkins, the veteran in the cast, brought experience and mellifluous tone to Basilio, including a nice 'La calunnia'.”

       Joseph So, Ludvig Van Toronto

       Rossini’s The Barber of Seville


“Giles Tomkins’ Basilio kept threatening to steal the show with some classy singing and wickedly self-aware OTT acting.”

       John Gilks, Opera Ramblings

       Rossini’s The Barber of Seville


APRIL 2018

“As three fellow accountants (and various other roles) tenor Keith Klassen (Mokiya), baritone Aaron Durand (Sossiya) and Giles Tomkins (Khodozat) were magic in their rollicking staging and musicianship. Constantly flowing over each other and playing a group bully to Akakiy's introvert, the three sang complex harmonies and timings with finesse.”

     Greg Finney,

     Rolfe’s The Overcoat



"Giles Tomkins is well known for his warm, rich baritone and fine acting and the role of the Farmer gives him a very sympathetic, very realistic character to play... Tomkins brings this off especially well and makes us relish Bach’s word painting as much as he does."

Christoper Hoile,

Bach’s Peasant Cantata


APRIL 2017

"Mr. Sorensen (Spoletta) was well complemented by Giles Tomkins’ solidly sung Sciarrone."

James Sohre, Opera Today
Puccini's Tosca



"Giles Tomkins sang the role of Liu's master, the aged Timur, and he made the most of the small part with a lustrous tone and an appropriately decrepit demeanour."

Bill Rankin, Opera Canada
Puccini's Turandot


"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



"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



"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



"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)



"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



"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



"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



"Comprimari are solid in all acts. Giles Tomkins is a suitably tormented Angelotti."

Opera Going Toronto

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, Vancouver Classical Music

Mozart's Don Giovanni



"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



"Giles Tomkins' portrait of the Sergeant of Police was a comic 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



"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



"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



“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,

Handel's Messiah



“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



"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,

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



“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

“The strongest performer is bass-baritone Giles Tomkins who has a solid, rich voice and clear diction.”

Michael Johnson, The Classical Music Network

James Rolfe’s Inês


MAY 2008

“... 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 ...”

Kenneth Walton, The Scotsman

Verdi’s Falstaff


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

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

CD Review of Vivaldi’s Griselda



"...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



“...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



“...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

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

CD Review “And So It Goes”



“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

Canada Council for the Arts