​​​​​​​​​​touched me inside.  I can't compare that quality to anyone; he was really alone in that respect.  I don't know, maybe for a lot of people quality does not count for much.  Maybe it's how loud you are or whatever, but for me the quality of the instrument is what touches me, it is what means something.  His singing of Faust was simply beautiful and I remembered it all these years.  I won't say Keith was better than this one or that one.  I think it is enough to say his voice touched me.  For instance, Placido Domingo has a marvelous instrument, and it is wonderful he still sings as well as he does.  But his voice doesn't touch me as Pavarotti's does. And Keith's voice touched me also, although their voices are very different.  I fully expected Keith to have quite a successful career.  That his career would start in Germany, which was really the only place to sing in Europe at that time.  Then he'd return to the states and continue.  When it didn't happen I was shocked, just shocked.  Something happened, and I never understood until now, it's so sad, very sad.  To think of the talent Keith had, what a shame.  It is wonderful you have his recordings; it's beautiful singing alright.  Anything I've heard from the earliest to the last I don't hear any wobble.  Even at age sixteen Keith had a finish to his singing.  He deserves to be recognized; it is just too bad he didn't go further.  What an incredibly moving story, it makes me want to cry."


(Filmed interview December 3, 2003)

       Dorothy Warenskjold, (May 11, 1921 - December 27, 2010) is one of America's most revered and respected former opera stars.  She was known throughout the operatic world for her beautiful voice and moving portrayal of the leading lyric soprano roles. After a most successful opera and concert career, Miss Warenskjold was Adjunct Professor of voice at UCLA for thirteen years and was in great demand for her unique master class on The Art of Concert Stage Presentation. Through the years she has been an adjudicator at many vocal auditions including those of the Metropolitan and San Francisco Opera Companies.  Dorothy Warenskjold and Keith Wyatt had sixty-one performances together.


​"Keith had an absolutely beautiful voice, a lovely quality so pleasurable to listen to.  He always sang so well, and never over sang.  From the first time I heard him, which was in rehearsal for "Faust" at the Redlands Bowl, everything he did was very solid.  His way on stage, his singing, his acting, they were all very solid.  Keith was quite artistic in his phrasing, and his languages were good.  For me it was mainly the quality of his voice that

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