Gaynor Keeble is represented by Rayfield Allied worldwide.

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Gaynor Keeble


  • Gaynor Keeble endowed the Marquise with superb hauteur and impeccable diction
    Opera Magazine
  • …Gaynor Keeble's wonderful Lady Bracknell of a match making Aunt left the most indelible impression
    Daily Telegraph
  • Gaynor Keeble was fully in command as Baba
    Opera Magazine
  • A wonderful singing actress with a rich and powerful voice, Gaynor recently made her debut with English National Opera as Katisha, at the Royal Opera House, Covent Garden as Third Lady Die Zauberflöte where she has also performed Voice of the Mother Tales of Hoffmann, and at Opera North where she has sung Mother/Witch Hansel and Gretel , Dame Hannah in Ruddigore and Gertrude Romeo and Juliet.  Other roles include Baba the Turk and Marchese La Fille du Regiment (English Touring Opera), Mrs Sedley Peter Grimes with the CBSO and Hippolyta A Midsummer Night’s Dream

    Recent and future engagements include Annina La Traviata for the Royal Opera House, Covent Garden, Marcellina The Marriage of Figaro for Opera North, Mistress Quickly Falstaff for Opera Project, and Kostelnicka Jenufa for Longborough Festival Opera, as well as concert performances in England and Ireland.

    • Kostelnicka (Jenufa), Longborough Festival Opera
      (July 2016)

      Gaynor Keeble, who plays [Kostelnicka], has a rich and powerful voice...
      Hannah Nepil, Financial Times
      Mezzo Gaynor Keeble gave an intelligent performance. She was always in control of the considerable range, powerfully realising the sacristan’s authority as the conscience of her community, her perception of the shame of Jenůfa’s pregnancy and, after murdering the newborn baby, the Kostelnička’s unhinging guilt.
      Rian Evans, The Guardian
      The other major performance here is Gaynor Keeble’s as the Kostelnička. On the level of melodrama, her outbursts of rage and passionate remorse would send any thermometer sky-high; but more importantly she captures the ambivalence of this remarkable character destroyed by precisely the emotional perception and rightness that motivate her palpably wrong behaviour in murdering Jenůfa’s baby.
      Stephen Walsh, The Arts Desk
      Gaynor Keeble, is renowned for being an actress-singer. In Longborough Festival Opera’s production of Leos Janacek’s Jenůfa she combines these twin talents to such stunning effect that you’re left reeling from the impact of it. With the brilliance of her acting and the power of her voice she portrays the part of the baby killer, Kostelnicka Buryjovna with magnificent menace, while at the same time capturing the subtlety of a role which has ambivalence at the heart of it.
      Gill Sutherland, Stratford Herald
    • Annina (La Traviata), Royal Opera House, Covent Garden
      (March 2016)

      Secondary roles go well, especially Gaynor Keeble’s concerned Annina
      George Hall, The Stage ****
    • Mistress Quickly (Falstaff), Opera Project
      (October 2015)

      Leading the female contingent were soprano Angharad Morgan as Alice Ford and contralto Gaynor Keeble as Mistress Quickly. ... Gaynor excelled in her teasing of the fat man by describing herself as his servant, matching her voice to ironic bowing and scraping.
      Michael Clark, Bristol Post
      Gaynor Keeble’s Mistress Quickly ... mimicked and mocked the fat knight magnificently, play-acting the wives’ supposed love-sickness against ironically plaintive orchestral lines recycled from La Traviata.
      Colin Davison, Gloucestershire Echo
      Gaynor Keeble’s vocally voluptuous upholstery brings Mistress Quickly into irrepressibly sharp focus.
      Patrick Josephs, Bristol 24/7
    • Marcellina (The Marriage of Figaro), Opera North
      (January 2015)

      Gaynor Keeble as housekeeper Marcellina is magnificent, properly catty in Act I and amply maternal in Act III.
      Richard Wilcocks, bachtrack
      Gaynor Keeble as Marcellina and Henry Waddington as Doctor Bartolo make an incisive comedy double act. Keeble’s first entrance as the good doctor’s harridan of a housekeeper in full white wedding gown with towering headdress and wielding an umbrella is a hoot.
      Geoffrey Mogridge, Opera Britannia
      The smaller roles are amply filled by ... Gaynor Keeble’s plummy Marcellina...
      Alfred Hickling, The Guardian
      There is a striking performance from Gaynor Keeble as Marcellina.
      Anthony Arblaster, Opera Now
      The excellent comic playing of Gaynor Keeble as Figaro’s matronly admirer ... made the most of some laugh-out-loud lines.
      Gail-Nina Anderson, The Journal
    • Auntie, Peter Grimes (DVD), Grimes on the Beach Film Ltd
      Aldeburgh Festival (March 2014)

      Gaynor Keeble’s Auntie is excellent.
      Michael Scott Rohan, BBC Music Magazine
      Gaynor Keeble’s Auntie and the ‘nieces’ of Alexandra Hutton and Charmian Bedford are all in excellent voice, the women’s quartet ‘From the gutter’ being a vocal highlight.
      Mark Pullinger, International Record Review
    • Florence Pike, Albert Herring, BBC Symphony Orchestra
      Barbican Centre (November 2013)

      Gaynor Keeble’s vociferous Florence Pike [was] notable in a one-off cast all of whom were distinctive.
      Paul Driver The Sunday Times
      The cast list of this performance was amazing… Gaynor Keeble as Florence, Lady Billows’s doormat, earnest and possibly envious of the shocking behaviour of the town’s young womenfolk.
      Michael Tanner, The Spectator
      Backing her up with rich vocals was Gaynor Keeble as between-two-worlds housekeeper Florence Pike, excelling in her Act Two harangue.
      David Nice,
      Miss Keeble is a very fine character actress with a firm, consistent tone throughout her range.
      Miranda Jackson, Opera Britannia
      Gaynor Keeble sang with great character, firmness and voice. She elicited great sympathy for having to work for a character like Lady Billows.
      Robert Hugill,
    • Auntie, Peter Grimes, Grimes on the Beach
      Aldeburgh Festival (June 2013)

      Gaynor Keeble’s plush-toned Auntie is a far cry from the raddled old character mezzo usually cast in the role.
      Hugh Canning, The Sunday Times
      The other characters make a marvellous gallery, including Gaynor Keeble's Auntie.
      Andrew Clements, The Guardian
      Gaynor Keeble’s rich-voiced Auntie.
      Clare Colvin, The Express
      The nieces were overseen by a sassy Auntie, sung forcefully with rich tone and feisty spirit by Gaynor Keeble.
      Opera Today
      Mrs Sedly and Gaynor Keeble as Auntie, the landlady whose female staff offer more than mere alcoholic beverages to the inhabitants of the Borough…both characterized their roles vividly and perceptively: these were real people we were listening to onstage, and however many times one might have seen Peter Grimes in the opera house, these performances had authenticities all of their own.
      Mike Reynolds,
      Ellen Orford’s quartet with Auntie (Gaynor Keeble)…is one of the highlights, a testament to the singers of course.
      Kimon Daltas, The Arts Desk
      Gaynor Keeble was a strong, no-nonsense landlady.
      Gareth Jones, The Ipswich Star
    • Annina (La Traviata), Royal Opera House, Covent Garden
      (November 2011)

      Gaynor Keeble’s carefully observed Annina
      The Stage
      a particularly strong Annina from Gaynor Keeble
    • Mistress Quickly (Falstaff), Opera Project
      (July 2011)

      Gaynor Keeble gave us another of her sassy portrayals as Mistress Quickly, who is, after all, the pivot of the entire delightful farce.
      Opera Magazine
    • Marquise (La fille du régiment), Diva Opera, France
      (July 2011)

      Gaynor Keeble gives a colorful performance in the role of Marquise of Birkenfeld
      Le Bien Public in Dijon
    • Die Zauberflöte, Royal Opera House
      (February 2011)

      Gaynor Keeble [was] on wondrous form
      The best singing of the evening came from the Three Ladies (Elizabeth Meister, Kai Rüütel and Gaynor Keeble).
      The First and Second Ladies were joined by the more experienced Gaynor Keeble to form a well-blended trio.
      Opera Today
    • Mistress Quickly (Falstaff), Mid Wales Opera,
      (September 2010)

      Gaynor Keeble's Mistress Quickly is a rich-toned caricature.
      The Guardian
      Gaynor Keeble is sensationally witty, perky and smart in her beautifully-vocalised Mistress Quickly
      Birmingham Post
    • Les Contes d’Hoffmann, Royal Opera House
      (November 2008)

      Gaynor Keeble, Kostas Smoriginas and Ji-Min Park all made strong marks in smaller roles
      The Daily Telegraph
      Gaynor Keeble shines briefly as her mother’s spirit
      The Stage
      Gaynor Keeble made the most of her few moments as the Spirit of Antonia’s mother
      Music Web International
      Gaynor Keeble as the spirit of her mother was truly affecting, and the most memorable of the mostly well-taking smaller parts
      …and the spirit of her mother, sung with lovely fruity tone by Gaynor Keeble.
      Classical Source
  • Gaynor Keeble’s Concert Repertoire

    • St John Passion
    • St Matthew Passion
    • B Minor Mass
    • Christmas Oratorio
    • Mass in C Minor
    • Alto Rhapsody
    • Liebeslieder
    • Dream of Gerontius
    • Music Makers
    • Light of Life
    • The Kingdom
    • Messiah
    • Samson
    • Glagolitic Mass
    • Stabat Mater
    • Lieder eines fahrenden Gesellen
    • Elijah
    • Requiem
    • C Minor Mass
    • Petite Messe Solennelle
    • Stabat Mater
    • Magnificat
    • Mass for the Children
    • Child of our Time
    • Requiem
  • Photos

    • Photographer credit: Richard Johnson
      Photographer credit: Richard Johnson