Bass-Baritone
Reviews
“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, Aradia Ensemble’s Dublin 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, Symphony Nova Scotia’s Dublin Messiah
“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
“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
“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
“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
"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
“The strongest performer is bass-baritone Giles Tomkins who has a solid, rich voice and clear diction.”
Michael Johnson, The Classical Music Network (www.concertonet.com), James Rolfe’s Inês
“... 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
“...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
“...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
“...a rewarding performance ... Giles Tomkins’s Gualtiero has riveting authority ...”
Nicholas Anderson, BBC Music Magazine, CD Review of Vivaldi’s Griselda
“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
"...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
“...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
“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 (www.thelivemusicreport.com)
Concert Review Giles Tomkins & Canadian Brass
“...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
“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
“...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