Keith Colclough

Bass-baritone Keith Colclough was praised in Opera News for his "rich authoritative" voice. He has been a soloist with a number of arts organizations, including the Los Angeles Philharmonic, Opera Santa Barbara, Sacramento Philharmonic and Opera, Pacific Opera Project, LACMA Sundays Live, Salastina Society, and the Santa Barbara Choral Society. Past operatic roles include Don Basilio in Il Barbiere di Siviglia, Doctor Bartolo in Le Nozze di Figaro, Publio in La Clemeza di Tito, both the Speaker and Sarastro in Die Zauberflöte, Seneca in L’incoronazione di Poppea, and Peter Quince in Britten’s A Midsummer Night’s Dream. Dr. Colclough’s training includes vocal fellowships at the Tanglewood Music Center, Music Academy of the West, the Aspen Opera Center, Fall Island Vocal Arts Seminar, Songfest, and a Fulbright Scholarship to Germany. He was also a studio artist at Opera Santa Barbara and a member of their improvisation-based outreach program, Opera Lab, improvising operas at elementary schools throughout Santa Barbara and Ventura County. Dr. Colclough also frequently performs recitals of art songs and musical theater, and has diverse experience as a choral and studio singer.

Dr. Colclough serves as Associate Professor of Voice and Director of Opera at Pepperdine University, where his duties include private voice lessons, diction courses, and vocal and stage direction for the Flora L. Thornton Opera Program. His past directing credits at Pepperdine include Le Nozze di Figaro, Gianni Schicchi, Dido and Aeneas, Die Fledermaus, and a virtual production of Massenet’s Cendrillon. Dr. Colclough also directs the vocal side of the Heidelberg Summer Music Program, performing with Pepperdine students throughout Austria and Germany. In addition to his duties at Pepperdine, he maintains a studio of professional voice students, several of whom have found success on major operatic stages and national musical theatre tours. In 2018, he was a vocal intern at the prestigious NATS Intern Program for early-career voice teachers. His DMA Document, “Schubert’s Incorporation and Transcendence of Recitative in German Lieder,” examines the evolution of Schubert’s compositional style and the elevation of Lieder as a genre.