"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)