Phares’s baritone was impressive and resonant throughout, ranging from his furious “Vedro, mentr’io sospiro” to his beautifully modulated final plea, “Contessa, perdono,” emphasizing his humanity and at least a sincere intention of reforming." Opera News 10-2018 Keith Phares brought out all the contradictions of the character while never minimizing his dominance and powerful sense of entitlement.
“ The role of Count Almaviva, problematic at any time and never more so than in today’s climate, is often portrayed as a typical womanizing scoundrel, with hardly a redeeming feature. "Baritone Keith Phares gave a masterful, engaging performance, both vocally and physically, moving between the male identity of Kynaston and his onstage female characters." Milwaukee Journal Sentinel 10-13-2018 Elder Tull, sung by mahogany-voiced baritone Keith Phares, is harassing her by insisting her head rider, Venters, is a criminal who deserves punishment." Operawire 3-2-2020
"After a short musical statement, the curtain opened on Jane’s ranch. "The dramatic impact is heightened by Phares's unswerving classical line and intense underlying emotion." Gramaphone 7-2020
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