"...ajoutant que la mezzo-soprano anglaise Thalie Knights a partagé la vedette avec Sarah Connolly et « a déployé une superbe ligne mélodique dans la partie récitative, axée sur la déclamation" Névine Lameï, Al-Ahram Hebdo (Zarqa Al Yamama, 2024) (2024)

"...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) (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) (2022)

"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) (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 (2022)

"Thalie Knights's plush mezzo pricked up the ears in Turio's music" Hugh Canning, Opera (Caio Fabbricio, 2022) (2022)

"Among many other notable items, Thalie Knights' balm-like aria 'O Rest in the Lord' stood out" Basil Abbott, Diss Express (Elijah, 2019) (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) (2018)

"Mezzo Thalie Knights brought a dramatic edge to the Gloria, and beautifully led off an exquisite Agnus Dei." Eastbourne Herald (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 Hughill, 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)

Praised for her “impressive control and poise” (Early Music Today) and her “commanding stage presence” (Planet Hugill), French bi-lingual Thalie trained with English National Opera on their distinguished Opera Works programme (2014/15) and was a 2016 Britten-Pears Young Artist performing Bach Cantatas under the guidance of tenor Mark Padmore. A finalist of the 2017 London Song Festival Lieder competition, in January 2018 Thalie was selected by Malcolm Martineau to take part in his residential song masterclass series with her duo partner Nico de Villiers, in Crear, Scotland. She is an alumna of the Royal Welsh College of Music and Drama.

In 2024 Thalie had the pleasure of singing two performances (covering Dame Sarah Connolly) of the title role in the world premiere of Zarqa al-Yamama - the first opera produced by the Kingdom of Saudi Arabia, commissioned by Australian Composer Lee Bradshaw, conducted by Pablo Gonzalez, and performed in Riyadh, Saudi Arabia.

Further engagements include her festival debut at Buxton International Festival as Marc'Antonio Marc'Antonio e Cleopatra, Andronico Tamerlano (Cambridge Handel Opera Company), Turio Caio Fabbricio (London Early Opera) and her Tête à Tête Opera Festival debut as soloist in The Golden Thread - a contemporary cantata composed by Alice Beckwith for mezzo soprano and large chamber ensemble. With themes of renewal, hope, and feminine strength, the piece depicts a young woman’s encounter with the Green Man and his more sinister counterpart, the Erlking.

Piacere Il Trionfo del Tempo e del Disginganno (Le Festival de musique du Périgord Noir), Prue The Dancing Master (The Malcolm Arnold Festival), Hänsel Hänsel und Gretel (Trinity Orchestra and Lambeth Orchestra respectively) and a role debut as Rose Across The Sky - a new commission for Cheltenham Music Festival which was subsequently nominated for a Royal Philharmonic Society Award under 'Community Opera'. Thalie also sang the title role in Handel's Agrippina and Zefka in The Diary of One Who Disappeared alongside tenor Tom Randle (Dartington Arts Festival).

In concert, Mozart Requiem (Sussex Festival Chorus), Rossini Petite Messe Solennelle (East Sussex Bach Choir), Ravel Shéhérezade (City of Sheffield Youth Orchestra), Mahler Kindertotenlieder (The Whitehall Orchestra) and Rückert- Lieder (Lewes Symphony Orchestra) to name but a few. As part of the Cambridge Summer Music Festival Thalie joined Julian Perkins in performing a series of Handel Cantatas, and performed a recital series - L'étranger - with Nico de Villiers; repertoire including Ravel Shéhérezade, Debussy Chansons de Bilitis and Delage Quatre poèmes hindous.

Thalie looks forward to recording a French song cycle based on Baudelaire poetry, composed for her by Lee Bradshaw and accompanied by Nico de Villiers, at Champs Hill Records in 2025.

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