Bass-baritone Derek Welton is a graduate of the University of Melbourne, Australia, holding a Bachelor of Arts degree majoring in German and Linguistics, and of the Guildhall School of Music and Drama, holding Master of Music (Vocal Studies) and Master of Music Performance (Opera Studies) degrees with Distinction.
Derek has performed at the Salzburg Festival, Salzburg Easter Festival, Festspielhaus Baden-Baden, Hamburg State Opera, Teatro dell’Opera di Roma, Glyndebourne, Opera North, Beijing Music Festival, Opéra de Lille and many other houses in roles including Pangloss/Martin in Candide, Vertigo in Gluck’s La rencontre imprévue, Creonte in Haydn’s L’anima del filosofo, Voland in York Höller’s Der Meister und Margarita, Harašta in The Cunning Little Vixen, De Brétigny in Manon, Mozart’s Figaro, Count Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno and Speaker, the Bonze in Madama Butterfly, Mill in La cambiale di matrimonio, Salieri’s Falstaff, King in Sallinen’s The King goes forth to France, Nick Shadow in The Rake’s Progress, Monterone in Rigoletto, Donner in Das Rheingold and Klingsor in Parsifal. Derek’s competition wins include the Emmerich Smola Förderpreis, the Handel Singing Competition and the Australian Youth Aria.
A sought-after concert artist, Derek has performed at venues including the Barbican, Bridgewater Hall, Glasgow Royal Concert Hall, Konzerthaus Berlin, Laeiszhalle Hamburg, Philharmonie Luxembourg, Royal Albert Hall, Royal Festival Hall, Theater an der Wien, Wigmore Hall and Hamer Hall (Melbourne), as soloist in over fifty choral and orchestral works as well as a diverse range of song repertoire. Conductors with whom Derek has worked include Ivor Bolton, Richard Bonynge, James Conlon, Christian Curnyn, Richard Farnes, Thomas Hengelbrock, Gustav Kuhn, Stephen Layton, Kent Nagano, Ilyich Rivas, Stefan Soltesz, Christian Thielemann and Christopher Warren-Green.
Future roles include Escamillo in Carmen under Axel Kober at the Hamburg State Opera, Graf Dominik in Arabella under Christian Thielemann at the Semperoper Dresden and Regolo in the world première of Beat Furrer’s La bianca notte under Simone Young at the Hamburg State Opera. In August 2015, Derek Welton will join the Ensemble of the Deutsche Oper Berlin.
Forthcoming concerts include the Mass in B minor with the Melbourne Symphony Orchestra, the St John Passion with the Auckland Philharmonia and Haydn’s Nelson Mass at the Royal Concertgebouw, all under Stephen Layton, as well as the Verdi Requiem with the Guildhall Symphony Orchestra under Mark Shanahan.
Derek features on three recordings: a solo CD of Vaughan Williams with Iain Burnside for Albion Records, as Creonte on Pinchgut Live’s CD of Haydn’s L’anima del filosofo, and as Gralsritter on Deutsche Grammophon’s DVD of Parsifal with Christian Thielemann.
Critical acclaim of Derek Welton’s performances includes the following:
Derek has performed at the Salzburg Festival, Salzburg Easter Festival, Festspielhaus Baden-Baden, Hamburg State Opera, Teatro dell’Opera di Roma, Glyndebourne, Opera North, Beijing Music Festival, Opéra de Lille and many other houses in roles including Pangloss/Martin in Candide, Vertigo in Gluck’s La rencontre imprévue, Creonte in Haydn’s L’anima del filosofo, Voland in York Höller’s Der Meister und Margarita, Harašta in The Cunning Little Vixen, De Brétigny in Manon, Mozart’s Figaro, Count Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno and Speaker, the Bonze in Madama Butterfly, Mill in La cambiale di matrimonio, Salieri’s Falstaff, King in Sallinen’s The King goes forth to France, Nick Shadow in The Rake’s Progress, Monterone in Rigoletto, Donner in Das Rheingold and Klingsor in Parsifal. Derek’s competition wins include the Emmerich Smola Förderpreis, the Handel Singing Competition and the Australian Youth Aria.
A sought-after concert artist, Derek has performed at venues including the Barbican, Bridgewater Hall, Glasgow Royal Concert Hall, Konzerthaus Berlin, Laeiszhalle Hamburg, Philharmonie Luxembourg, Royal Albert Hall, Royal Festival Hall, Theater an der Wien, Wigmore Hall and Hamer Hall (Melbourne), as soloist in over fifty choral and orchestral works as well as a diverse range of song repertoire. Conductors with whom Derek has worked include Ivor Bolton, Richard Bonynge, James Conlon, Christian Curnyn, Richard Farnes, Thomas Hengelbrock, Gustav Kuhn, Stephen Layton, Kent Nagano, Ilyich Rivas, Stefan Soltesz, Christian Thielemann and Christopher Warren-Green.
Future roles include Escamillo in Carmen under Axel Kober at the Hamburg State Opera, Graf Dominik in Arabella under Christian Thielemann at the Semperoper Dresden and Regolo in the world première of Beat Furrer’s La bianca notte under Simone Young at the Hamburg State Opera. In August 2015, Derek Welton will join the Ensemble of the Deutsche Oper Berlin.
Forthcoming concerts include the Mass in B minor with the Melbourne Symphony Orchestra, the St John Passion with the Auckland Philharmonia and Haydn’s Nelson Mass at the Royal Concertgebouw, all under Stephen Layton, as well as the Verdi Requiem with the Guildhall Symphony Orchestra under Mark Shanahan.
Derek features on three recordings: a solo CD of Vaughan Williams with Iain Burnside for Albion Records, as Creonte on Pinchgut Live’s CD of Haydn’s L’anima del filosofo, and as Gralsritter on Deutsche Grammophon’s DVD of Parsifal with Christian Thielemann.
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Critical acclaim of Derek Welton’s performances includes the following:
‘Outstanding … Derek Welton as Voland, a magically Mephistophelian schemer with a darkly grounded bass’ (Weser Kurier)
‘Derek Welton shone as the devil (in the mysterious form of Voland) with supreme ease, demonic play and baritonal abundance: entirely the likeable, beguiling Mephisto’ (Spiegel Online)
‘Derek Welton … deserved the crown of the evening as the galant black magician Voland … He mastered his role as the devil with powerfully beautiful voice and sophisticated acting.’ (Opernglas)
‘Derek Welton made his successful début at the Hamburg State Opera … was a decidedly cool and casual devil … who could completely convince vocally, with his splendid voluminous and well-supported Heldenbariton’ (Der Opernfreund)
‘As Figaro, meanwhile, Derek Welton showed he is the possessor of a major voice—a bass-baritone of easy power and robust, pleasing timbre’ (Opera)
‘Derek Welton’s tremendous Bonze stood out. This young Australian has star potential’ (Opera)
‘With his mellow baritone and graceful phrasing, Welton makes Creonte more sympathetic … though he musters a fine, ringing sonority for his ‘vengeance’ aria’ (Gramophone)
‘The soloist is the young Australian Derek Welton, whose manly, oaken baritone is sensitively offset by Iain Burnside’s superbly supportive accompaniments.’ (BBC Music Magazine)
‘Welton is an excellent singer, his vibrant baritone perfect for the swaggering nature of some of the songs, while he can scale down tenderly for others’ (International Record Review)
‘Derek Welton sang Donner with a magisterial tone and although I could find no previous Wagnerian roles in his credits it seems likely he could forge a successful career in the Heldenbariton repertory.’ (Opera Britannia)
‘When Welton thundered ‘I will shake the heavens and the earth’, he did pretty much that: every aria he sang had an easy, unforced majesty.’ (The Independent)
‘Smoky toned bass-baritone Derek Welton sang with alluring warmth and resounding power’ (The Australian)
‘A complete artist, odd to find so mature a figure in a youth opera, but one of those performers you can’t take your eyes off when he is onstage.’ (Spectator)
‘It also showcased a number of fine performances, none finer than … the baritone Derek Welton’s virile-voiced, authoritative King.’ (Opera)
‘Derek Welton’s King sings with immense authority while morphing from infantile monarch to loud-mouthed sadist.’ (Financial Times)
‘A voice as rich and dark as the finest chocolate.’ (Herald Sun)
‘A star in the making.’ (The Age)
‘Derek Welton shone as the devil (in the mysterious form of Voland) with supreme ease, demonic play and baritonal abundance: entirely the likeable, beguiling Mephisto’ (Spiegel Online)
‘Derek Welton … deserved the crown of the evening as the galant black magician Voland … He mastered his role as the devil with powerfully beautiful voice and sophisticated acting.’ (Opernglas)
‘Derek Welton made his successful début at the Hamburg State Opera … was a decidedly cool and casual devil … who could completely convince vocally, with his splendid voluminous and well-supported Heldenbariton’ (Der Opernfreund)
‘As Figaro, meanwhile, Derek Welton showed he is the possessor of a major voice—a bass-baritone of easy power and robust, pleasing timbre’ (Opera)
‘Derek Welton’s tremendous Bonze stood out. This young Australian has star potential’ (Opera)
‘With his mellow baritone and graceful phrasing, Welton makes Creonte more sympathetic … though he musters a fine, ringing sonority for his ‘vengeance’ aria’ (Gramophone)
‘The soloist is the young Australian Derek Welton, whose manly, oaken baritone is sensitively offset by Iain Burnside’s superbly supportive accompaniments.’ (BBC Music Magazine)
‘Welton is an excellent singer, his vibrant baritone perfect for the swaggering nature of some of the songs, while he can scale down tenderly for others’ (International Record Review)
‘Derek Welton sang Donner with a magisterial tone and although I could find no previous Wagnerian roles in his credits it seems likely he could forge a successful career in the Heldenbariton repertory.’ (Opera Britannia)
‘When Welton thundered ‘I will shake the heavens and the earth’, he did pretty much that: every aria he sang had an easy, unforced majesty.’ (The Independent)
‘Smoky toned bass-baritone Derek Welton sang with alluring warmth and resounding power’ (The Australian)
‘A complete artist, odd to find so mature a figure in a youth opera, but one of those performers you can’t take your eyes off when he is onstage.’ (Spectator)
‘It also showcased a number of fine performances, none finer than … the baritone Derek Welton’s virile-voiced, authoritative King.’ (Opera)
‘Derek Welton’s King sings with immense authority while morphing from infantile monarch to loud-mouthed sadist.’ (Financial Times)
‘A voice as rich and dark as the finest chocolate.’ (Herald Sun)
‘A star in the making.’ (The Age)
Après avoir reçu un Bachelors en linguistique et germanistique de l’Université de Melbourne, le baryton-basse Australien Derek Welton a suivi cursus «Masters» en Musique et Opéra à la Guildhall School of Music and Drama à Londres. Il a remporté, entre autres, les premiers prix dans l’Emmerich Smola Förderpreis d’Allemagne, la Handel Singing Competition de Londres et la Australian Youth Aria.
Derek a chanté au Festival de Salzbourg, Festival de Pâques de Salzbourg, à la Festspielhaus Baden-Baden, à l’Opéra d’État de Hambourg, Teatro dell’Opera di Roma, Glyndebourne, Opera North (Royaume-Uni), Beijing Music Festival, Opé de Lille et divers autres dans les rôles, y compris Pangloss/Martin dans Candide, Vertigo dans La rencontre imprévue de Gluck, Creonte dans L’anima del filosofo de Haydn, Voland dans Der Meister und Margarita de York Höller, Harašta dans La petite renarde rusée, De Brétigny dans Manon, Figaro, Le comte Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno et Sprecher de Mozart, Bonzo dans Madama Butterfly, Mill dans La cambiale di matrimonio, Falstaff de Salieri, le Roi dans Le Roi se rend en France de Sallinen, Nick Shadow dans The Rake’s Progress, Monterone dans Rigoletto, Donner dans Das Rheingold et Klingsor dans Parsifal.
On a pu l’entendre en concert, entre autres, au Barbican, à la Bridgewater Hall, à la Glasgow Royal Concert Hall, au Konzerthaus Berlin, à la Laeiszhalle Hamburg, à la Philharmonie Luxembourg, à la Royal Albert Hall, à la Royal Festival Hall, au Theater an der Wien, à la Wigmore Hall et à la Hamer Hall (Melbourne), dans des œuvres chorales et orchestrales plus de cinquante ainsi que d’une gamme diversifiée de répertoire de la chanson. Il a chanté comme soliste sous la direction de chefs tels que Ivor Bolton, Richard Bonynge, James Conlon, Christian Curnyn, Richard Farnes, Thomas Hengelbrock, Gustav Kuhn, Stephen Layton, Kent Nagano, Ilyich Rivas, Stefan Soltesz, Christian Thielemann et Christopher Warren-Green.
Ses rôles d’opéra futurs comprennent Escamillo dans Carmen avec Axel Kober à l’Opéra d’État de Hambourg, Graf Dominik dans Arabella avec Christian Thielemann au Semperoper Dresden, et Regolo dans la première mondiale de La bianca notte de Beat Furrer avec Simone Young à l’Opéra d’État de Hambourg. À partir d’août 2015, Derek Welton sera membre de l’Ensemble du Deutsche Oper Berlin.
Les engagements futurs de concerts comprennent la Messe en si mineur avec le Melbourne Symphony Orchestra, et la Passion selon St Jean avec la Auckland Philharmonia, les deux avec Stephen Layton, et le Requiem de Verdi avec le Guildhall Symphony Orchestra et Mark Shanahan.
On peut entendre Derek Welton dans trois enregistrements: On Christmas Day (Arrangements de chansons folkloriques de Vaughan Williams) avec Iain Burnside, dans le rôle de Creonte dans L’anima del filosofo de Haydn (Pinchgut Live), et dans le rôle de Gralsritter dans Parsifal avec Christian Thielemann (Deutsche Grammophon).
Derek a chanté au Festival de Salzbourg, Festival de Pâques de Salzbourg, à la Festspielhaus Baden-Baden, à l’Opéra d’État de Hambourg, Teatro dell’Opera di Roma, Glyndebourne, Opera North (Royaume-Uni), Beijing Music Festival, Opé de Lille et divers autres dans les rôles, y compris Pangloss/Martin dans Candide, Vertigo dans La rencontre imprévue de Gluck, Creonte dans L’anima del filosofo de Haydn, Voland dans Der Meister und Margarita de York Höller, Harašta dans La petite renarde rusée, De Brétigny dans Manon, Figaro, Le comte Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno et Sprecher de Mozart, Bonzo dans Madama Butterfly, Mill dans La cambiale di matrimonio, Falstaff de Salieri, le Roi dans Le Roi se rend en France de Sallinen, Nick Shadow dans The Rake’s Progress, Monterone dans Rigoletto, Donner dans Das Rheingold et Klingsor dans Parsifal.
On a pu l’entendre en concert, entre autres, au Barbican, à la Bridgewater Hall, à la Glasgow Royal Concert Hall, au Konzerthaus Berlin, à la Laeiszhalle Hamburg, à la Philharmonie Luxembourg, à la Royal Albert Hall, à la Royal Festival Hall, au Theater an der Wien, à la Wigmore Hall et à la Hamer Hall (Melbourne), dans des œuvres chorales et orchestrales plus de cinquante ainsi que d’une gamme diversifiée de répertoire de la chanson. Il a chanté comme soliste sous la direction de chefs tels que Ivor Bolton, Richard Bonynge, James Conlon, Christian Curnyn, Richard Farnes, Thomas Hengelbrock, Gustav Kuhn, Stephen Layton, Kent Nagano, Ilyich Rivas, Stefan Soltesz, Christian Thielemann et Christopher Warren-Green.
Ses rôles d’opéra futurs comprennent Escamillo dans Carmen avec Axel Kober à l’Opéra d’État de Hambourg, Graf Dominik dans Arabella avec Christian Thielemann au Semperoper Dresden, et Regolo dans la première mondiale de La bianca notte de Beat Furrer avec Simone Young à l’Opéra d’État de Hambourg. À partir d’août 2015, Derek Welton sera membre de l’Ensemble du Deutsche Oper Berlin.
Les engagements futurs de concerts comprennent la Messe en si mineur avec le Melbourne Symphony Orchestra, et la Passion selon St Jean avec la Auckland Philharmonia, les deux avec Stephen Layton, et le Requiem de Verdi avec le Guildhall Symphony Orchestra et Mark Shanahan.
On peut entendre Derek Welton dans trois enregistrements: On Christmas Day (Arrangements de chansons folkloriques de Vaughan Williams) avec Iain Burnside, dans le rôle de Creonte dans L’anima del filosofo de Haydn (Pinchgut Live), et dans le rôle de Gralsritter dans Parsifal avec Christian Thielemann (Deutsche Grammophon).
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Der australische Bassbariton Derek Welton erhielt nach seinem Bachelor in Deutsch und Sprachwissenschaften an der Universität Melbourne seine Gesangsausbildung an der Guildhall School of Music and Drama in London. Er gewann u.a. die Ersten Preise beim Emmerich Smola Förderpreis, Londoner Händel-Gesangswettbewerbs und Australian Youth Aria Wettbewerb und den Zweiten Preis beim Herald Sun Aria Wettbewerb in Melbourne.
Auf der Opernbühne bei u.a. den Salzburger Festspielen, den Osterfestspielen Salzburg, dem Festspielhaus Baden-Baden, dem Teatro dell’Opera di Roma, der Hamburgischen Staatsoper, Glyndebourne, der Opera North (Großbritannien), dem Beijing Music Festival und der Opéra de Lille war Derek Welton u.a. in folgenden Rollen zu erleben: Pangloss/Martin in Candide, Vertigo in Glucks La rencontre imprévue, Creonte in Haydns L’anima del filosofo, Voland in York Höllers Der Meister und Margarita, Harašta in Das schlaue Füchslein, De Brétigny in Manon Mozarts Figaro, Graf Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno und Sprecher, Bonzo in Madama Butterfly, Mill in La cambiale di matrimonio, Salieris Falstaff, der König in Sallinens Der König begibt sich nach Frankreich, Nick Shadow in The Rake’s Progress, Monterone in Rigoletto, Donner in Das Rheingold und Klingsor in Parsifal.
Als Konzertsänger trat Derek Welton u.a. im Barbican Centre, in der Bridgewater Hall, in der Glasgow Royal Concert Hall, im Konzerthaus Berlin, in der Laeiszhalle Hamburg, in der Philharmonie Luxembourg, in der Royal Albert Hall, in der Royal Festival Hall, im Theater an der Wien, in der Wigmore Hall und in der Hamer Hall (Melbourne), in mehr also 50 Chor- und Orchesterwerken auf. Er arbeitete mit Dirigenten wie Ivor Bolton, Richard Bonynge, James Conlon, Christian Curnyn, Richard Farnes, Thomas Hengelbrock, Gustav Kuhn, Stephen Layton, Kent Nagano, Ilyich Rivas, Stefan Soltesz, Christian Thielemann und Christopher Warren-Green.
Zukünftige Rollen gehören Escamillo in Carmen mit Axel Kober bei der Hamburgischen Staatsoper, Graf Dominik in Arabella mit Christian Thielemann bei der Semperoper Dresden, und Regolo in der Uraufführung Beat Furrers La bianca notte mit Simone Young bei der Hamburgischen Staatsoper. Ab August 2015 wird er Ensemblemitglied der Deutschen Oper Berlin.
Derek wird auch in der Zukunft u.a. in der Messe in H-moll mit dem Melbourne Symphony Orchestra und in der Johannes-Passion mit der Auckland Philharmonia mit Stephen Layton, und Verdis Requiem mit dem Guildhall Symphony Orchestra und Mark Shanahan zu hören sein.
Derek Welton ist auf folgenden Aufnahmen zu hören: On Christmas Day (Vereinbarungen des Volksliedes von Vaughan Williams) mit Iain Burnside, als Creonte in Haydns L’anima del filosofo (Pinchgut Live), und als Gralsritter in Parsifal mit Christian Thielemann (Deutsche Grammophon).
Auf der Opernbühne bei u.a. den Salzburger Festspielen, den Osterfestspielen Salzburg, dem Festspielhaus Baden-Baden, dem Teatro dell’Opera di Roma, der Hamburgischen Staatsoper, Glyndebourne, der Opera North (Großbritannien), dem Beijing Music Festival und der Opéra de Lille war Derek Welton u.a. in folgenden Rollen zu erleben: Pangloss/Martin in Candide, Vertigo in Glucks La rencontre imprévue, Creonte in Haydns L’anima del filosofo, Voland in York Höllers Der Meister und Margarita, Harašta in Das schlaue Füchslein, De Brétigny in Manon Mozarts Figaro, Graf Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno und Sprecher, Bonzo in Madama Butterfly, Mill in La cambiale di matrimonio, Salieris Falstaff, der König in Sallinens Der König begibt sich nach Frankreich, Nick Shadow in The Rake’s Progress, Monterone in Rigoletto, Donner in Das Rheingold und Klingsor in Parsifal.
Als Konzertsänger trat Derek Welton u.a. im Barbican Centre, in der Bridgewater Hall, in der Glasgow Royal Concert Hall, im Konzerthaus Berlin, in der Laeiszhalle Hamburg, in der Philharmonie Luxembourg, in der Royal Albert Hall, in der Royal Festival Hall, im Theater an der Wien, in der Wigmore Hall und in der Hamer Hall (Melbourne), in mehr also 50 Chor- und Orchesterwerken auf. Er arbeitete mit Dirigenten wie Ivor Bolton, Richard Bonynge, James Conlon, Christian Curnyn, Richard Farnes, Thomas Hengelbrock, Gustav Kuhn, Stephen Layton, Kent Nagano, Ilyich Rivas, Stefan Soltesz, Christian Thielemann und Christopher Warren-Green.
Zukünftige Rollen gehören Escamillo in Carmen mit Axel Kober bei der Hamburgischen Staatsoper, Graf Dominik in Arabella mit Christian Thielemann bei der Semperoper Dresden, und Regolo in der Uraufführung Beat Furrers La bianca notte mit Simone Young bei der Hamburgischen Staatsoper. Ab August 2015 wird er Ensemblemitglied der Deutschen Oper Berlin.
Derek wird auch in der Zukunft u.a. in der Messe in H-moll mit dem Melbourne Symphony Orchestra und in der Johannes-Passion mit der Auckland Philharmonia mit Stephen Layton, und Verdis Requiem mit dem Guildhall Symphony Orchestra und Mark Shanahan zu hören sein.
Derek Welton ist auf folgenden Aufnahmen zu hören: On Christmas Day (Vereinbarungen des Volksliedes von Vaughan Williams) mit Iain Burnside, als Creonte in Haydns L’anima del filosofo (Pinchgut Live), und als Gralsritter in Parsifal mit Christian Thielemann (Deutsche Grammophon).
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Il basso-baritono australiano Derek Welton ha ottenuto il Bachelor of Arts all’Università di Melbourne, specializzandosi in linguistica e tedesco, e alla Guildhall School of Music and Drama di Londra ha ottenuto il Master of Music (Studi Vocali) e Master of Music Performance (Studi di Opera) con lode. Ha ricevuto, tra gli altri, i primi premi nel Emmerich Smola Förderpreis di Germania, nel Handel Singing Competition di Londra e nell’Australian Youth Aria, e il secondo premio nella Herald Sun Aria di Melbourne.
Derek ha cantato al Festival di Salisburgo, Festival di Pasqua di Salzburg, alla Festspielhaus Baden-Baden, Opera di Amburgo, Teatro dell’Opera di Roma, Glyndebourne, Opera North (Regno Unito), Beijing Music Festival, Opéra de Lille e in molti altri posti, in ruoli quali Pangloss/Martin in Candide, Silvano ne La Calisto, Vertigo ne La rencontre imprévue di Gluck, Creonte ne L’anima del filosofo di Haydn, Voland ne Der Meister und Margarita di York Höller, Harašta ne La piccola volpe astuta, De Brétigny in Manon Figaro, il Conte Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno e Sprecher di Mozart, Bonzo in Madama Butterfly, Mill ne La cambiale di matrimonio, Falstaff di Salieri, il Re ne Il Re va in Francia di Sallinen, Nick Shadow in The Rake’s Progress, Monterone in Rigoletto, Donner ne Das Rheingold e Klingsor in Parsifal.
Concertista ricercato, si è esibito, fra gli altri, al Barbican, alla Bridgewater Hall, alla Glasgow Royal Concert Hall, al Konzerthaus Berlin, alla Laeiszhalle Hamburg, alla Philharmonie Luxembourg, alla Royal Albert Hall, alla Royal Festival Hall, al Theater an der Wien, alla Wigmore Hall e alla Hamer Hall (Melbourne), come solista in oltre cinquanta opere corali e orchestrali e di un vasto repertorio delle canzoni. Ha collaborato con direttori quali Ivor Bolton, Richard Bonynge, James Conlon, Christian Curnyn, Richard Farnes, Gustav Kuhn, Stephen Layton, Kent Nagano, Ilyich Rivas, Stefan Soltesz, Christian Thielemann e Christopher Warren-Green.
Ruoli futuri de l’opera comprendono Escamillo in Carmen con Axel Kober all’Opera di Amburgo, Graf Dominik in Arabella con Christian Thielemann alla Semperoper Dresden, e Regolo nella prima mondiale de La bianca notte di Beat Furrer con Simone Young all’Opera di Amburgo. A partire dall’agosto 2015, Derek Welton sera membro dell’Ensemble del Deutsche Oper Berlin.
Impegni concertistici futuri comprendono la Missa in si minore di Bach con la Melbourne Symphony Orchestra e la Passione secondo Giovanni con la Auckland Philharmonia e Stephen Layton, e il Requiem di Verdi con la Guildhall Symphony Orchestra e Mark Shanahan.
Si può ascoltare Derek Welton in tre registrazioni: On Christmas Day (arrangiamenti di canzone popolare di Vaughan Williams) con Iain Burnside, nel ruolo di Creonte ne L’anima del filosofo di Haydn (Pinchgut Live), e nel ruolo di Gralsritter in Parsifal con Christian Thielemann (Deutsche Grammophon).
Derek ha cantato al Festival di Salisburgo, Festival di Pasqua di Salzburg, alla Festspielhaus Baden-Baden, Opera di Amburgo, Teatro dell’Opera di Roma, Glyndebourne, Opera North (Regno Unito), Beijing Music Festival, Opéra de Lille e in molti altri posti, in ruoli quali Pangloss/Martin in Candide, Silvano ne La Calisto, Vertigo ne La rencontre imprévue di Gluck, Creonte ne L’anima del filosofo di Haydn, Voland ne Der Meister und Margarita di York Höller, Harašta ne La piccola volpe astuta, De Brétigny in Manon Figaro, il Conte Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno e Sprecher di Mozart, Bonzo in Madama Butterfly, Mill ne La cambiale di matrimonio, Falstaff di Salieri, il Re ne Il Re va in Francia di Sallinen, Nick Shadow in The Rake’s Progress, Monterone in Rigoletto, Donner ne Das Rheingold e Klingsor in Parsifal.
Concertista ricercato, si è esibito, fra gli altri, al Barbican, alla Bridgewater Hall, alla Glasgow Royal Concert Hall, al Konzerthaus Berlin, alla Laeiszhalle Hamburg, alla Philharmonie Luxembourg, alla Royal Albert Hall, alla Royal Festival Hall, al Theater an der Wien, alla Wigmore Hall e alla Hamer Hall (Melbourne), come solista in oltre cinquanta opere corali e orchestrali e di un vasto repertorio delle canzoni. Ha collaborato con direttori quali Ivor Bolton, Richard Bonynge, James Conlon, Christian Curnyn, Richard Farnes, Gustav Kuhn, Stephen Layton, Kent Nagano, Ilyich Rivas, Stefan Soltesz, Christian Thielemann e Christopher Warren-Green.
Ruoli futuri de l’opera comprendono Escamillo in Carmen con Axel Kober all’Opera di Amburgo, Graf Dominik in Arabella con Christian Thielemann alla Semperoper Dresden, e Regolo nella prima mondiale de La bianca notte di Beat Furrer con Simone Young all’Opera di Amburgo. A partire dall’agosto 2015, Derek Welton sera membro dell’Ensemble del Deutsche Oper Berlin.
Impegni concertistici futuri comprendono la Missa in si minore di Bach con la Melbourne Symphony Orchestra e la Passione secondo Giovanni con la Auckland Philharmonia e Stephen Layton, e il Requiem di Verdi con la Guildhall Symphony Orchestra e Mark Shanahan.
Si può ascoltare Derek Welton in tre registrazioni: On Christmas Day (arrangiamenti di canzone popolare di Vaughan Williams) con Iain Burnside, nel ruolo di Creonte ne L’anima del filosofo di Haydn (Pinchgut Live), e nel ruolo di Gralsritter in Parsifal con Christian Thielemann (Deutsche Grammophon).
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