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Judy Australia 1964 | Skunkworks Productions
“Performed to melodic perfection, the role of Judy Garland was triumphant in the hands of experienced performer Liane Keegan”
9 July, 2019
Péllas and Mélisande | Victorian Opera
“… highly experienced contralto Liane Keegan brings an air of quality to the opera’s early scenes. Keegan’s supple range and intensely focused delivery leave the audience wanting more.”
Man in the Chair
12 October, 2018
Tait 25th anniversary concert | St Paul’s Church, Knightsbridge, London
“What a delight it was to hear Liane Keegan sing Wagner Lieder. She sings with remarkable beauty and has great story telling skills which hold an audience. Her careful musical phrasing and rich vocal tones make her the perfect Wagnerian. She has power in reserve and it is no surprise she gained such good reviews when singing Erde in Opera Australia’s Ring. Keegan was one of the first recipients of a Tait scholarship 25 years ago.”
18 September, 2017
" Luxury casting continued with the all too brief appearance of Dramatic Contralto Liane Keegan as Albine, Abbess of the Convent. Keegan expertly captured the caring yet commanding figure, singing with deliberately guarded warmth and utter authority"
Man in chair.
August 27, 2017
“Liane Keegan’s rich contralto and uncompromising presence as the austere Abbess Albine was a highlight of the final act.
August 26, 2017
Thais | Melbourne Symphony Orchestra
Jeremiah Symphony No 1 and Ruckert Lieder | Melbourne Symphony Orchestra
" Steely, muted and unadorned, Keegan's lamentation vocal line (in the Bernsteins Jeremiah symphony No 1), revealed with brutal clarity the lonely despair of the prophet ignored.
Most moving was a gossamer rendition of the Mahler Ruckert Lieder by Keegan, her effortless line and a diaphanous orchestral accompaniment, floating the listener into dreamscapes of fragrance, celestial gazing and solitary musings. This was art to awaken even the most world weary listener."
August 17, 2018
Siegfried | Opera Australia
“ Ërda returned confused from her wisdom rejuvenating slumber via Liane Keegan's colossally sensitive performance."
"Liane Keegan's blind Erda, continued her good work in Rheingold. It is a dark, luscious voice and steady as a rock across the whole range. "
"The quality of Keegan's voice is the sheer musicality of her voice which floats effortlessly over the orchestra. Keegan uses her finely honed vocal expression to create an entire performance with very little facial or physical movement."
Man in Chair
Elektra | Theatre Hagen
"Liane Keegan as Klytemnestra, sings and acts very impressively. Everyone was filled with poison as the composer wished. The role must be sung, not shouted. Hagen will not hear better bel canto singing than this."
"Liane Keegan in the grand role of Klytemnestra. The ringing, beautiful, even voice is rich and deep, without artificially making the voice dark. Equally impressive was the height in the voice, full toned without constriction and with great ease."
Mahler’s Symphony No. 3 | Queensland Symphony Orchestra
"Dramatic Contralto Liane Keegan's lush and glorious voice, longing for eternity in the ravishing fourth movement, was well realised."
Il Trovatore | State Opera of South Australia
"Liane Keegan's fiery and magnificently sung Azucena is a role she will be able to carry though a long, impressive career."
August 14, 1999