PRESS
"Thalie Knights cultivates a richly mellow musical character for Antonio, expressing calm and composure as he contemplates the consequences of his defeat at Actium, however flustered any of the music written for the part becomes."
Curtis Rogers, The Classical Source (Marc'Antonio e Cleopatra, 2022)
"Thalie Knights sang Antonio with warm mellow tones capturing the character's essential melancholy and suggesting vacillation. There was little attempt to make Knights look overtly masculine, but she successfully conveyed this persona."
Robert Hugill, Planet Hugill (Marc'Antonio e Cleopatra, 2022)
"...her warm mezzo was stylish and well matched to Ellie Neate's bright, controlled Cleopatra - both persuasive stage presences in this intense two-hander"
Flora Wilson, The Guardian (Marc'Antonio e Cleopatra, 2022)
"The singing is highly accomplished"
Robert Beale, The Arts Desk (Marc'Antonio e Cleopatra, 2022)
"Thalie Knights's plush mezzo pricked up the ears in Turio's music"
Hugh Canning, Opera (Caio Fabbricio, 2022)
"Knights made sure her arias were stylish and memorable"
Robert Hugill, Planet Hugill (Caio Fabbricio, 2022)
"In the role of Andronico, Tamerlano’s war ally and love rival, she brought a welcome inward quality to her most deeply-felt arias, gradually increasing in power as the evening progressed."
William Hale, Lark Reviews (Tamerlano, 2022)
"Thalie Knights had a way of being solid and centred on stage which, in the opening scenes, brought out the more positive aspects of Andronico's character. And Knights combined this with a beautifully well-modulated vocal line"
Robert Hugill, Planet Hugill (Tamerlano, 2022)
"Andronico might be rather passive, particularly in the first half of the opera, but Knights and Kyropoulos made him a far more positive presence, vividly portrayed"
Robert Hugill, Planet Hugill (Tamerlano, 2022)
"Among many other notable items, Thalie Knights' balm-like aria 'O Rest in the Lord' stood out"
Basil Abbott, Diss Express (Elijah, 2019)
"...Knights' impressive control and poise, which brought all the passion and drama of any Italian opera"
Elinor Bishop, Early Music Today (Il Trionfo del Tempo e del Disinganno, 2018)
"Mezzo Thalie Knights brought a dramatic edge to the Gloria, and beautifully led off an exquisite Agnus Dei."
Eastbourne Herald (Mozart Requiem and Haydn's Nelson Mass, 2017)
''...the Flower Duet with Thalie Knights was breathtaking...''
Jeff Thomson, Surrey Advertiser (Lakmé, 2017)
"Thalie Knights made a strong, passionate Armide. Tall and distinguished, she had a commanding stage presence making Armide's sense of power quite believable. Knights gripped us from beginning to end.’’
Robert Hugill, Planet Hugill (Armide, 2016)
"...Thalie Knights and Kieran White, a pair of lovers who both looked and sounded good, and brought a great sense of style to their parts."
Robert Hugill, Planet Hugill (Armide, 2016)
''...Thalie Knights in the travesty role of the alternative male love interest Frédéric, made good impression.''
Hugh Canning, Opera (Mignon, 2015)