Press
Click on the flags for original texts of translations.
‘With a bitter, intense baritone voice, Derek Welton conveyed the suffering of Amfortas as a threatening gesture. His unusually rousing portrayal of the Grail King, normally pitiable in his infirmity, resounded as a parable in which he understood the search for salvation to be a dystopia for the Company of the Grail.’
»Derek Welton ließ mit herber, intensiver Baritonstimme das Leiden des Amfortas als Drohgebärde erleben. Seine ungewohnt mitreißende Darstellung dieses normalerweise im Siechtum bemitleidenswerten Gralskönigs erklang als Parabel, in welcher er die Heilsfindung gleich einer Dystopie für die Gralsgesellschaft verstand.«
Wagner Parsifal, Bayreuther Festspiele, 23 August 2023
‘THE voice of the evening is Derek Welton. The Australian bass-baritone gives a heart-rending portrayal of Amfortas. The incredible presence of his timbre, carrying right up to the side of the listener, so to speak, invests a compassion, indeed a participation, that refers directly to Parsifal's sudden calling. The splendour of his colour and his inexhaustible legato make the King the main character, met with a natural nobility even in his moments of rebellion and despair’.
« LA voix de la soirée s’appelle Derek Welton. Le baryton-basse australien signe … une incarnation bouleversante d’Amfortas. La présence inouïe du timbre, porté jusqu’à côté de l’auditeur, pour ainsi dire, investit une compassion, voire une participation qui renvoie directement à la vocation soudaine de Parsifal. La splendeur de la couleur comme l’inépuisable legato font du roi le personnage principal, traversé par une noblesse naturelle jusqu’en ses moments de rébellion et de désespoir ».
Bertrand Bolognesi,
Anaclase, 21 August 2023
Wagner Parsifal, Bayreuther Festspiele, 12 August 2023
‘Australian bass Derek Walton’s voice is of a brilliantly black tone, rendering the sufferings of Amfortas into tortured expressions of hopelessness.’
Wagner Parsifal, Bayreuther Festspiele, 15 August 2023
‘With a magnificent voice, Derek Welton sang a lyrical and stylish Amfortas that did not need to hide behind ”Sprechgesang”’.
»Derek Welton sang mit prächtiger Stimme einen lyrischen und stilvollen Amfortas, der sich nicht hinter Sprechgesang zu verstecken brauchte.«
Wagner Parsifal, Bayreuther Festspiele, 15 August 2023
‘Derek Welton’s Amfortas was finely sung throughout’.
Wagner Parsifal, Bayreuther Festspiele, 15 August 2023
‘Derek Welton shines in Amfortas’ intensely sorrowful monologues. His singing is a textbook example of the eternal melody, highly expressive and yet powerful. He sings "Erbarmen" and one can feel his call for mercy. He has the music in his hands, like a really good orator who tells whole novellas with all the nuances of his voice!’
»Derek Welton glänzt in den äußerst leidensvollen Monologen des Amfortas. Sein Gesang ist ein Paradebeispiel der ewigen Melodie, hoch expressiv und trotzdem kraftvoll. Er singt „Erbarmen“, man spürt einen Hilferuf nach Erbarmen. Er hat die Musik in der Hand, wie ein richtig guter Redner, der mit den feinsten Ecken seiner Stimme ganze Novellen erzählt!«
Wagner Parsifal, Bayreuther Festspiele, 12 August 2023
‘Derek Welton portrays Amfortas with intense, dark tones of suffering and a vivid stage presence.’
»Den Amfortas gibt Derek Welton mit intensiven, dunklen Leidenstönen und eindringlicher schauspielerischer Präsenz.«
Wagner Parsifal, Bayreuther Festspiele, 30 July 2023
‘Derek Welton was a superb Amfortas’.
Wagner Parsifal, Bayreuther Festspiele, 30 July 2023
‘Derek Welton begs so vividly for mercy that, when hearing his lamentation, tears can hardly be held back. This strong baritone convinces with his well-rounded clarity and poignancy, and his the clarity of his text is also very good.’
»Derek Welton bittet so eindringlich um Erbarmen, daß beim Hören dieser Klage die Tränen kaum zu unterdrücken sind. Dieser starke Bariton überzeugt durch seine abgerundete Klarheit und Eindringlichkeit, auch bei ihm ist die Textverständlichkeit sehr gut.«
Wagner Parsifal, Bayreuther Festspiele, 30 July 2023
‘Derek Welton demonstrates great class as Amfortas: a deathly ill king with a wonderfully healthy voice.’
»Große Klasse beweist Derek Welton als Amfortas: Ein todkranker König mit kerngesunder Stimme.«
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Derek Welton sings a youthfully virile, never too tearful Amfortas with the future prospects of a Wotan.’
»Derek Welton singt einen jugendlich-virilen, nie zu weinerlichen Amfortas mit Wotan-Prognose.«
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Derek Welton transforms the sufferings of Amfortas into cultivated vocal beauty’.
»Derek Welton verwandelt die Leiden des Amfortas in kultivierte Stimm-Schönheit«.
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Derek Welton impresses as Amfortas with his clarity and presence’.
»Derek Welton als verwundeter Amfortas beeindruckt durch Klarheit und Präsenz«.
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Gentle in suffering but powerful in protestation: Derek Welton as Amfortas’.
»Im Leiden sanft, im Aufbegehren dagegen mächtig: Derek Welton als … Amfortas.«
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘The Australian bass-baritone Derek Welton celebrates a deserved success as the Grail King Amfortas’
»Der australische Bassbariton Derek Welton feiert als Gralskönig Amfortas einen verdienten Erfolg«.
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Derek Welton is a fine Amfortas; he flares up in pain from an incurable wound and yet his bass remains wonderfully distinguished.’
»Derek Welton ist ein feiner Amfortas; bei ihm flammt der Schmerz an einer unheilbaren Wunde auf, und trotzdem bleibt sein Bass herrlich distinguiert.«
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Presented by an array of phenomenal singers: full of feeling and beautiful in sound Derek Welton’s Amfortas’.
»Dargebracht von einer Reihe phänomenaler Sänger: … Gefühlvoll und klangschön Derek Weltons Amfortas«.
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘This “Parsifal” is world-class: with Derek Welton as a desperately ailing Amfortas’.
»Dieser „Parsifal“ ist Weltklasse: … mit Derek Welton als verzweifelt siechem Amfortas«.
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Derek Welton portrays an authoritative Amfortas’.
»Derek Welton [gibt] einen autoritären Amfortas«.
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Derek Welton possesses plenty of fervent power as Amfortas’.
»Derek Welton verfügt über viel glühende Kraft als Amfortas«.
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Derek Welton’s Amfortas looks fragile but sounds robust, wise, and authoritative’.
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Derek Welton is a tender, vulnerable Amfortas’.
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Derek Welton sings Amfortas, plagued by the eternal wound, grippingly.’
»Derek Welton singt ergreifend den von der ewigen Wunde geplagten Amfortas.«
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘The Australian bass-baritone Derek Welton as a powerfully suffering Amfortas’.
»Der australische Bassbariton Derek Welton als kraftvoll leidender Amfortas«.
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Striking: Derek Welton’.
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘The Australian bass-baritone Derek Welton portrays a fabulous Amfortas, touching in the expression of physical and moral suffering. The accuracy of his German pronunciation and his excellent diction make him perfectly understandable.’
‘El bajo-barítono australiano Derek Welton también ofreció un Amfortas fabuloso, conmovedor en su expresión del sufrimiento físico y moral. La precisión de su pronunciación alemana y su excelente dicción le hacen perfectamente comprensible.’
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘The Amfortas of the Australian bass-baritone Derek Welton was very good. Magnificent voice, healthy in all the wide range necessary to deliver the two great and transcendental monologues of his part convincingly.’
‘Molt bé l’Amfortas del baix-baríton australià Derek Welton. Veu magnífica, sana en tot l’ampli registre necessari per fer de manera convincent els dos grans i transcendents monòlegs de la seva part.’
Wagner Parsifal, Bayreuther Festspiele, 29 July 2023
‘At the Wagner Festival, the baritone Derek Welton has already been a great Klingsor. Now he is an Amfortas able to bring expression to all the his pain caused by the misfortune of having sinned and lost the spear.’
‘Al festival wagnerià, el baríton Derek Welton havia estat un gran Klingsor. Ara és un Amfortas capaç de posar a la veu tot el dolor per la desgràcia d’haver pecat i perdut la llança.’
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘The voices of Andreas Schager (Parsifal), Elina Garanca (Kundry) and Derek Welton (Amfortas) garnered the most fervent ovations.’
‘Las voces de Andreas Schager -Parsifal-, Elina Garanca -Kundry- y Derek Welton -Amfortas- cosecharon las más cerradas ovaciones.’
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Derek Welton, as Amfortas, is also a source of solid joy.’
Wagner Parsifal, Bayreuther Festspiele, 25 July 2023
‘Wotan was Derek Welton … his Wotan was one of the most finely sung accounts of the role that I have ever come across. Welton sang with a wonderfully expansive and firm sense of line. Yet there was nothing effete about this Wotan, he was a self-consciously strong man, short-sighted and something of a bully. Welton was mesmeric too, bringing out Wotan's charisma.’
Wagner Das Rheingold, Dresdner Musikfestspiele, 14 June 2023
‘The vocally steadfast Australian Derek Welton sang the father of the gods Wotan with his deep, robust voice. Confident, expressively differentiated: jovially condescending towards Fricka, arrogants towards the giants and ignoble how he uses Loge.’
»Der vokal standfeste Australier Derek Welton sang mit seiner tiefen, kernigen Stimme den Göttervater Wotan. Souverän, differenziert im Ausdruck: jovial herablassend gegenüber Fricka, arrogant gegenüber den Riesen und infam, wie er den Loge benutzt.«
Wagner Das Rheingold, Dresdner Musikfestspiele, 14 June 2023
‘The consistently powerful-voiced Derek Welton as Wotan’.
»Der durchgehend stimmgewaltige Derek Welton als Wotan«.
Wagner Das Rheingold, Dresdner Musikfestspiele, 14 June 2023
‘Derek Welton is an evil, powerful Klingsor.’
»Derek Welton [ist] ein böser, kraftvoller Klingsor.«
Wagner Parsifal, Wiener Staatsoper, 16 April 2023
‘Derek Welton’s Klingsor is also very strongly performed indeed’. His thundering voice always makes Kundry tremble.’
»Ganz besonders stark geriert auch Derek Weltons Klingsor. Seine donnernde Stimme lässt Kundry stets erzittern.«
Wagner Parsifal, Wiener Staatsoper, 16 April 2023
‘Derek Welton, as convincing on stage as vocally, gives Klingsor’s character a violent and sick eloquence.’
« Derek Welton, aussi convaincant scéniquement que vocalement, donne au personnage de Klingsor une éloquence violente et malsaine. »
Wagner Parsifal, Wiener Staatsoper, 16 April 2023
‘Derek Welton shines as Wotan in Rheingold’.
Wagner Das Rheingold (DVD), Naxos, released November 2022
‘The mysterious, managerial-type Klingsor was portrayed very well by Australian bass-baritone Derek Welton, who endowed the role with insight and clarity of speech.’
»Tajemného Klingsora manažerského typu ztvárnil velmi dobře australský basbarytonista Derek Welton, který roli obdařil nadhledem a bystrostí projevu.«
Wagner Parsifal, Wiener Staatsoper, 12 April 2023
‘Impressive: Derek Welton as Klingsor’.
»Imposant Derek Welton als Klingsor«.
Wagner Parsifal, Wiener Staatsoper, 6 April 2023
‘Derek Welton as Klingsor is fully convincing thanks to his powerful yet very agile bass and his acting.’
»Während Derek Welton als Klingsor dank seines kraftvollen, gleichwohl sehr beweglichen Basses ebenso wie durch seine Darstellung voll überzeugen kann.«
Wagner Parsifal, Wiener Staatsoper, 6 April 2023
‘Derek Welton portrays Wotan, the father of the gods, and has to cope with a demanding role right at the beginning of the act. He succeeds in an exemplary manner. With his clear pronunciation and deep, full-bodied voice, he is an ideal casting.’
»Derek Welton gibt den Göttervater Wotan und hat gleich zu Beginn des Aufzuges eine anspruchsvolle Partie zu bewältigen. Dies gelingt ihm beispielhaft. Mit seiner deutlichen Aussprache und tiefen, kernigen Stimme, ist er eine Idealbesetzung.«
Wagner Siegfried Act 3, Sinfonieorchester Basel, 23 March 2023
‘Outstanding singers are the young Wotan (Derek Welton)…’
Wagner Das Rheingold (DVD), Naxos, released November 2022
‘Australian bass Derek Welton took on the roles of Klingsor and Amfortas, and in addition to a luminous and resounding instrument, of indisputable authority, he demonstrated extraordinary expressive versatility, with a theatrical intensity that made any other stage device unnecessary.’
‘El bajo australiano Derek Welton asumió los papeles de Klingsor y de Amfortas, y además de un instrumento luminoso y rotundo, de una autoridad indiscutible, demostró una extraordinaria versatilidad expresiva, con una intensidad teatral … que hacía innecesario cualquier otro recurso escénico.’
Wagner Parsifal, Orquesta de Extremadura, 26-27 January 2023
‘Derek Welton filled the entire room with the forcefulness and power of his voice in his double role of Amfortas and Klingsor. As the first character, in the first act, he combined the clarity of his luminous voice with the depth of his middle and low registers. But the most important thing was a masterful interpretation of all the psychological complexity of Amfortas, of the endlessness of his physical and spiritual pain, launching an “Erbarmen” that, due to his truly moving tones, made us participants in the anguish that invades him. And as Klingsor, he summoned up more dramatic tones, with an overwhelming sound and authentic evil in the way he said each sentence.’
‘Derek Welton llenó toda la sala con la contundencia y potencia de su voz en su doble papel de Amfortas y Klingsor. Como el primer personaje, en el primer acto, combinó la nitidez de su voz de color luminoso con la profundidad de su registro central y grave. Pero lo más importante fue una interpretación magistral de toda la complejidad psicológica de Amfortas, de la infinitud de su dolor físico y espiritual, lanzando un “Erbarmen” que nos hizo partícipes de esa congoja que le invade por sus acentos realmente conmovedores. Y como Klingsor se revistió de tonos más más dramáticos, con apabullante sonido y auténtica maldad en la manera de decir cada frase.’
Andrés Moreno Mengíbar,
Scherzo, 28 January 2023
Wagner Parsifal, Orquesta de Extremadura, 26-27 January 2023
‘The voice of Derek Welton then fills the space for a splendid moment’.
« La voix de Derek Welton remplit ensuite l’espace pour un moment splendide »
Wagner Walküre Act 3 Excerpts, Orchestre National de Lille, 20 January 2023
‘It is Derek Welton, already heard in several Wagnerian roles in which he attracted positive attention, who makes his entrance onto the stage of the vast Lille auditorium to portray “Wotan’s Farewell”. Endowed with a magnificently dark and superbly steely tone, the Australian bass-baritone draws tears in the Wanderer’s farewell to his daughter Brünnhilde, which he concludes with a whisper, “Thus he takes away your divinity with a kiss!”’
« C’est … Derek Welton, déjà entendu dans plusieurs rôles wagnériens dans lesquels il s’est fait positivement remarquer, qui fait son entrée sur le plateau du vaste auditorium lillois pour interpréter « Adieux de Wotan … ». Doté d’un timbre magnifiquement sombre et superbement acéré, le baryton‑basse australien tire les larmes dans ces déchirants adieux du Wanderer à sa fille Brünnhilde, qu’il conclut dans un murmure, ‹ So küsst er die Gottheit von dir! › »
Wagner Walküre Act 3 Excerpts, Orchestre National de Lille, 19 January 2023
‘Derek Welton sings the role of Pangloss in a deep, ebony-sounding voice.’
« Derek Welton chante le rôle de Pangloss … d’une voix profonde aux résonnances d’ébène. »
Damien Dutilleul,
Olyrix, 17 December 2022
Bernstein Candide, Opéra de Lyon, 16 December 2022
‘Derek Welton sings the arias of Pangloss with a sumptuous legato’.
« Derek Welton chante avec un legato somptueux les airs de Pangloss ».
Emmanuel Dupuy,
Díapason, 17 December 2022
Bernstein Candide, Opéra de Lyon, 16 December 2022
‘With pleasure we rediscover the excellent Derek Welton, a young bass-baritone of generous projection who endows the King with an indisputable presence’.
« On retrouve avec plaisir l’excellent Derek Welton, jeune baryton-basse généreusement projeté qui dote le Roi d’une présence incontestable ».
Bertrand Bolognesi,
Anaclase, 3 November 2022
Schreker Der Schatzgräber, Opéra national du Rhin, 2 November 2022
‘An almost perfect cast, with the superb King of Derek Welton’.
« Un cast quasi parfait, du Roi superbe de Derek Welton ».
Didier van Moere,
Díapason, 3 November 2022
Schreker Der Schatzgräber, Opéra national du Rhin, 2 November 2022
‘A great performance by Derek Welton, whose full and sonorous instrument perfectly suits the status of this King, unable to understand what is really at stake.’
« Très belle prestation de Derek Welton dont l'instrument plein et sonore convient parfaitement au statut de ce Roi incapable de comprendre ce qui se joue vraiment. »
David Verdier,
Wanderer, 1 November 2022
Schreker Der Schatzgräber, Opéra national du Rhin, 30 October 2022
‘The character of the King is portrayed with confidence by the Australian bass-baritone Derek Welton, with sonorous voice’.
« Le personnage du Roi est incarné avec assurance par le baryton-basse australien Derek Welton, à la voix sonore ».
Schreker Der Schatzgräber, Opéra national du Rhin, November 2022
‘Derek Welton was physically and vocally tremendous in the part, his heroic voice shaking the very walls of Mycaenae. The Recognition Scene was as profoundly moving as I have ever heard it.’
Strauss Elektra, Victorian Opera, 14 September 2022
‘The beautiful bass-baritone of Derek Welton (Orest) was a calling card to every Australian opera company and orchestra to invite him home again, and often.’
Strauss Elektra, Victorian Opera, 14 September 2022
‘Each time Germany-based baritone Derek Welton hits the local stage he impresses immensely. It was no different here with Welton giving an authoritative and nuanced performance as Elektra’s valiant brother Orest.’
Strauss Elektra, Victorian Opera, 14 September 2022
‘With his dark and round baritone voice and clear diction, Derek Welton is an ideal Herald.’
»Mit seiner dunklen und runden Baritonstimme und klarer Diktion gibt Derek Welton einen idealen Heerrufer.«
Wagner Lohengrin, Bayreuther Festspiele, 14 August 2022
‘With the brilliant Derek Welton as Herald, nothing was left to be desired.’
»Beim fulminanten Derek Welton als Heerrufer blieben keine Wünsche offen.«
Wagner Lohengrin, Bayreuther Festspiele, 4 August 2022
‘Derek Welton shone vocally as Herald and announced himself as the “Rheingold” Wotan.’
»Derek Welton glänzte stimmlich als Heerrufer und meldete sich damit schon für den „Rheingold“-Wotan an.«
Wagner Lohengrin, Bayreuther Festspiele, 4 August 2022
‘Derek Welton’s Herald resonates with the sounds of Wotan (which he has already sung in Berlin).’
»Derek Welton, der als Heerrufer Wotan-Klänge mitschwingen lässt (den er bereits in Berlin gesungen hat).«
Markus Thiel,
Merkur, 5 August 2022
Wagner Lohengrin, Bayreuther Festspiele, 4 August 2022
‘Derek Welton as Herald rightly earns great cheers from the public.’
»Derek Welton erntet als Heerrufer zu Recht großen Jubel vom Publikum.«
Wagner Lohengrin, Bayreuther Festspiele, 4 August 2022
‘Outstanding: the excellent clarion voice of Derek Welton’s Herald’.
»Herausragend indes: die famose Fanfarenstimme von Derek Weltons Heerrufer.«
Wagner Lohengrin, Bayreuther Festspiele, 4 August 2022
‘Remarkable with his vigorous presence the Herald Derek Welton.’
»Beachtlich mit seiner markigen Präsenz der Heerrufer Derek Welton.«
Wagner Lohengrin, Bayreuther Festspiele, 4 August 2022
‘Australian bass-baritone Derek Welton has sung the role of Klingsor many times before, most notably in Bayreuth and in Berlin, and it showed. Not only was he thoroughly inside the character, but his singing was effortlessly produced. In a role that is so often ‘barked’ it was an unalloyed delight to hear it actually sung, and sung so well. I can’t think of a better interpreter of the role today — and he's certainly the best since Donald McIntyre sang it in the late ’60s. Having also sung Wotan (Das Rheingold) in Berlin, this prodigiously gifted young singer clearly is on the way to becoming a major international star.’
Wagner Parsifal, Opera North, 26 June 2022
‘Derek Welton’s Klingsor proved another vocal highlight. His steely baritone made light work of Wagner’s dramatic Act two orchestration. His voice has a commanding – one might even say enchanting – fullness and heft that established his status and authority in this relatively spare staging, not least during a thrilling summoning of Kundry at the top of Act two.’
Wagner Parsifal, Opera North, 26 June 2022
‘Derek Welton sang impressively as Klingsor, symbol of the negative force of evil’.
Wagner Parsifal, Opera North, 26 June 2022
‘Derek Welton was an outstanding Klingsor, who seemed to embody the character in every way, and whose firm bass-baritone was as wonderful on the ear as it was undoubtedly assertive.’
Wagner Parsifal, Opera North, 26 June 2022
‘Derek Welton was malevolence personified as Klingsor’.
Wagner Parsifal, Opera North, 26 June 2022
‘As Klingsor, Derek Welton was intriguingly subtle, with an air of thoughtful mischief, in a very strong performance’.
Wagner Parsifal, Opera North, 26 June 2022
‘Derek Welton was brilliantly cast as the magician Klingsor, dark-voiced, evil-eyed, giving the kind of performance which pins you back in your seat as soon as he walks on stage.’
Wagner Parsifal, Opera North, 15 June 2022
‘Bass-baritone Derek Welton as … Klingsor was perfectly cast, obviously relishing the part and using his rich voice with precision.’
Wagner Parsifal, Opera North, 1 June 2022
‘Most notable of all, perhaps, were Katarina Karnéus … in the one female principal role of Kundry … and Derek Welton, who brought huge energy and impact to that of the sorcerer Klingsor.’
Wagner Parsifal, Opera North, 1 June 2022
‘Derek Welton’s Klingsor is properly creepy’.
Wagner Parsifal, Opera North, 1 June 2022
‘ Derek Welton, as the villain Klingsor, had us by the throat and, once he had our attention, raged and threatened, a scintillating, venomous account of how the world should be, delivered in tones of primal power and penetration.’
Wagner Parsifal, Opera North, 1 June 2022
‘That the Herald commands was shown by the marvellous diction and piercing voice of Derek Welton.’
‘Que el Heraldo manda … fue aquí proyectado la portentosa dicción y mordente … en la voz de Derek Welton.’
Wagner Lohengrin, Royal Opera House, 11 May 2022
‘Australian bass-baritone Derek Welton made an auspicious house debut as the Herald – a Wotan and Klingsor in Berlin, he used his rich, expressive voice to telling effect, turning this relatively small role into a major one, commanding attention whenever he appeared on stage. On the basis of this showing, he's richly deserved an invitation to return’.
Wagner Lohengrin, Royal Opera House, 24 April 2022
‘Derek Welton made for an uncommonly vivid Herald, hinting intriguingly at psychological complications from a wartime past.’
Wagner Lohengrin, Royal Opera House, 27 April 2022
‘The Herald: an excellent Derek Welton’.
Wagner Lohengrin, Royal Opera House, 27 April 2022
‘Australian-born Derek Welton was striking as the Herald, a classy bass-baritone with plenty of dramatic charisma.’
Clive Paget, Musical America, 21 April 2022
Wagner Lohengrin, Royal Opera House, 19 April 2022
‘Derek Welton, luxury casting as Herald’.
Wagner Lohengrin, Royal Opera House, 19 April 2022
‘Excellent vignettes come from … Derek Welton as a deeply sinister Herald, the Australian bass-baritone here making an impressive ROH debut’.
Jessica Duchen,
i News, 21 April 2022
Wagner Lohengrin, Royal Opera House, 19 April 2022
‘Derek Welton’s menacing Herald, not just a mouthpiece for the king but capable of incipient savagery, as witnessed by his manhandling of Elsa, also deserves mention.’
Wagner Lohengrin, Royal Opera House, 19 April 2022
‘Fold in Derek Welton's imposing Herald and it all adds up to a heavyweight, satisfyingly serious night of Wagner.’
Wagner Lohengrin, Royal Opera House, 19 April 2022
‘Vocally, the performance gets off to an excellent start with the arrival of Derek Welton as the Herald. He is a seasoned Wagnerian, and remarkably, this is his Royal Opera debut. His dress is imposing, the whole of the right side of his body bound in braces and supports, his walk a stubborn limp.’
Wagner Lohengrin, Royal Opera House, 19 April 2022
‘Derek Welton as the Herald produced an immensely strong vocal presence, unsurprising for a man who has previously sung Klingsor at Bayreuth.’
Wagner Lohengrin, Royal Opera House, 19 April 2022
‘Derek Welton’s Herald was a fine, strong assumption that gave this character much more presence than one normally experiences.’
Wagner Lohengrin, Royal Opera House, 19 April 2022
‘Derek Welton’s Herald is imposing and stentorian’.
Wagner Lohengrin, Royal Opera House, 19 April 2022
‘The Australian Derek Welton is an experienced Wagnerian and makes a good fist of the pivotal role of the Herald.’
Wagner Lohengrin, Royal Opera House, 19 April 2022
‘Derek Welton triumphs as Herald equal to the other Wagnerian bass-baritone roles (Klingsor, Donner Wotan), delivering impeccable lines that are sustained, present, powerful and projected.’
« Derek Welton s'impose en héraut à l'égal des autres voix de baryton-basse wagnérien (Klingsor, Donner, Wotan), livrant d'impeccables lignes soutenues, présentes, puissantes et projetées. »
Mark Everist,
Olyrix, 20 April 2022
Wagner Lohengrin, Royal Opera House, 19 April 2022
‘The Angel of the Agony, bass-baritone Derek Welton, showed off his Wagnerian experience in the authoritative weight and tonal variety with which he navigated Newman’s repetitions imploring Jesus to “spare these souls”.’
Elgar The Dream of Gerontius, Royal Philharmonic Orchestra, 7 April 2022
‘Derek Welton lent his Herald the power of a true leader’.
»Derek Welton verlieh seinem Heerrufer die Kraft eines echten Anführers« .
Opernwelt, April 2022
Wagner Lohengrin, Bolshoi Theatre, February 2022
‘Derek Welton spoiled us with such a differentiated, powerful and youthfully fresh Wotan’.
»Derek Welton [hat] uns … mit einem so ausdifferenzierten, kraftvollen und jugendlich-frischen Wotan verwöhnt« .
Wagner Das Rheingold, Deutsche Oper Berlin, 4 January 2022
‘Towering performances came from … Derek Welton who, as Wotan, dominated the drama not only vocally but also physically’.
Robbert Nachbahr, Opera, March 2022
Wagner Das Rheingold, Concerto Köln, November 2021
‘Derek Welton is a clever dialogue partner with impeccable diction and his warm-timbred bass-baritone is grandly radiant.’
»Derek Welton … ist mit tadelloser Artikulation ein kluger Dialogpartner und lässt seinen warm timbrierten Bassbariton würdevoll strahlen.«
Andreas Berger, Oper!, January 2022
Wagner Das Rheingold, Kölner Philharmonie, 18 November 2021
‘Derek Welton was an impressively forthright Wotan’.
Opera, January 2022
Wagner Das Rheingold, Deutsche Oper Berlin, November 2021
‘Australian bass-baritone Derek Welton was a vocal rock as the Major-Domo.’
Zemlinsky Der Zwerg, Dutch National Opera, 4 September 2021
‘Wotan is sung here by Australian Derek Welton. His stature, and his clear and powerful timbre, are authoritative in the role of the chief of the gods.’
« Wotan est chanté ici par l’australien Derek Welton … sa stature, son timbre clair et puissant, font autorité dans le rôle du maître des dieux. »
Wagner Das Rheingold, Concertgebouw Amsterdam, 20 November 2021
‘Derek Welton is a Wagnerian repertoire singer. His voice is attractive, dark, of considerable length and suitable colour. He has a brilliant high register and a middle and low register typical of a young Wagnerian bass-baritone. He demonstrated his quality with clear phrasing, remarkable articulation and astonishing technical confidence that could make him one of the future Wotans of reference.’
‘Derek Welton … sí es un cantante de repertorio wagneriano. … La voz es atractiva, mórbida, de considerable extensión y adecuado color. Tiene un registro agudo brillante y un centro y graves propios de un bajo-barítono wagneriano joven … Demostró su calidad con un fraseo claro, una articulación notable y una seguridad técnica pasmosa que lo pueden convertir en uno de los Wotan de referencia del futuro.’
Wagner Das Rheingold, Concertgebouw Amsterdam, 20 November 2021
‘Derek Welton has already sung Wotan at the Deutsche Oper and his experience was on display in the way that he savoured the text. The voice has a wonderful warmth on the bottom and the tone was utterly firm throughout. In a role that has been occupied by so many barkers over the years, what a pleasure it was to hear the role truly sung – and with a lieder singer’s sensitivity to text combined with an innate sense of legato.’
Wagner Das Rheingold, Concertgebouw Amsterdam, 20 November 2021
‘The king of the gods is sung by the spectacular Derek Welton’.
« Le roi des dieux [est] chanté par le spectaculaire Derek Welton ».
Wagner Das Rheingold, Kölner Philharmonie, 18 November 2021
‘Also brilliant is the Wotan of Derek Welton, who [has] already worked out how to cultivate a majestic, velvety, lyrical “high bass” instrument.’
»Glänzend auch der Wotan von Derek Welton, der schon … erarbeitet [hat], wie man ein mächtiges „Hoher Bass“-Material … mit Vollsamt-Kantabilität kultiviert.«
Wagner Das Rheingold, Kölner Philharmonie, 18 November 2021
‘Derek Welton as Wotan with his voluminous and attractive bass-baritone’
»Derek Welton als Wotan mit seinem voluminösen und wohlklingenden Bassbariton« .
Wagner Das Rheingold, Kölner Philharmonie, 18 November 2021
‘Above all the magnificent Wotan of Derek Welton’.
»Allen voran der prachtvolle Wotan von Derek Welton« .
Wolfram Goertz,
Die Zeit, 25 November 2021
Wagner Das Rheingold, Kölner Philharmonie, 15 November 2021
‘The best of the bunch was Derek Welton’s Wotan. The Australian bass-baritone sang the young god with fresh vigor and vitality. His gently powerful and darkly lacquered voice tempered nobility with arrogance.’
A J Goldmann, Opera News, 19 September 2021
Wagner Das Rheingold, Deutsche Oper Berlin, June 2021
‘Derek Welton is a youthful, hearty Wotan with elegantly toned and powerful voice, who accomplishes his task without any difficulty.’
»Derek Welton ist ein jugendlicher herzhafter Wotan mit fein timbrierter und kräftiger Stimme, der ohne jede Schwierigkeit seine Aufgabe meistert.«
Wagner Das Rheingold, Deutsche Oper Berlin, 16 November 2021
‘
Derek Welton (Wotan) acts and sings his role calmly and with dignity. His voice and pronunciation are an excellent fit’.
»Derek Welton (Wotan) spielt und singt seine Rolle … ruhig und würdevoll. Seine Stimme und Aussprache passen ausgezeichnet dazu« .
Wagner Das Rheingold, Deutsche Oper Berlin, 9 November 2021
‘The Chamberlain Don Estoban was wittily portrayed and expressively sung by Derek Welton.’
»Der Haushofmeister Don Estoban [wurde] gewitzt gespielt und ausdrucksstark gesungen von Derek Welton« .
Zemlinsky Der Zwerg, Dutch National Opera, 3 September 2021
‘Baritone Derek Welton as the Chamberlain showed himself from the first moment as a tower of strength’.
‘Bariton Derek Welton [betoonde] zich als de Haushofmeister vanaf het eerste moment een vocale rots in de branding’.
Zemlinsky Der Zwerg, Dutch National Opera, 3 September 2021
‘The Chamberlain was sung with authority by Derek Welton’.
‘De hofmeester [werd] met autoriteit gezongen door Derek Welton’.
Zemlinsky Der Zwerg, Dutch National Opera, 3 September 2021
‘The power-obsessed, lustfully triumphant Klingsor of Derek Welton is captivating, vocally virile and deeply evil.’
»Bestechend, sängerisch viril und tiefböse gerät der machtbesessene, lustvoll auftrumpfende Klingsor von Derek Welton.«
Wagner Parsifal, Bayreuth Festival, 10 August 2021
‘Derek Welton portrayed an agile, aggressive, seemingly daring Klingsor’.
»Derek Welton ließ einen beweglichen, aggressiven, denkbar unweisen Klingsor hören.«
Wagner Parsifal, Bayreuth Festival, 10 August 2021
‘Derek Welton was in insolently gorgeous voice as Wotan, taking the long phrase ‘In des Morgens Scheine mutig erschimmernd lag sie herrenlos’ in one breath, and relishing the high tessitura throughout.’
Carlos María Solare, Opera, September 2021
Wagner Das Rheingold, Deutsche Oper Berlin, June 2021
‘Derek Welton conveyed Wotan’s aristocratic arrogance with the greatest credibility, both vocally and dramatically’.
»[Wotans] aristokratische Arroganz [vermittelt] Derek Welton stimmlich wie darstellerisch mit der größten Glaubwürdigkeit« .
Wagner Das Rheingold, Deutsche Oper Berlin, June 2021
‘Derek Welton as Wotan, with his noble-sounding bass-baritone, has gained in carrying power and volume.’
»Derek Welton hat mit seinem edel klingenden Bassbariton als Wotan an Durchschlagskraft und Volumen gewonnen.«
Andreas Berger,
Oper!, August 2021
Wagner Das Rheingold, Deutsche Oper Berlin, June 2021
‘Derek Welton convinced as an Orest in his prime’.
»Derek Welton überzeugte als voll im Saft stehender Orest« .
Kronen Zeitung, 24 June 2021
Strauss Elektra, Wiener Staatsoper, 22 June 2021
‘Derek Welton has found his star role in the somewhat higher-lying part of the Rheingold Wotan. With declamatory brilliance together with confident vocal production and cultivated articulation, he portrayed this complex figure in all his multidimensionality.’
»In der etwas höher angelegten Partie des Rheingold-Wotan hat Derek Welton seine Paraderolle gefunden. In deklamatorischer Brillanz bei sicherer Stimmführung und kultivierter Wortgestaltung verkörperte er diese komplexe Figur in all ihrer Vielschichtigkeit.«
Wagner Das Rheingold, Deutsche Oper Berlin, 12 June 2021
‘The evening, thoroughly convincing in its stage action, is paired with some excellent singer-actor performances: … Derek Welton is a young Wotan with an exact sound and complexity of characterisation.’
»Der in seiner Spielastik durchaus überzeugende Abend ist gepaart mit einigen großartigen Sänger*innen-Darsteller*innen-Leistungen: … Derek Welton [ist] ein junger Wotan mit exakter Tongebung und Charakterisierungsvielfalt.«
Wagner Das Rheingold, Deutsche Oper Berlin, 12 June 2021
‘Derek Welton looks good and possesses a powerful, expressive bass-baritone."’
»Derek Welton sieht … gut aus und kann außerdem einen kraftvollen, ausdrucksfähigen Bass-Bariton bieten.«
Wagner Das Rheingold, Deutsche Oper Berlin, 15 June 2021
‘Derek Welton is a very youthful father of the gods, attractive even in underwear, with pleasantly timbred bass-baritone, full of colour, and admirable clarity of text.’
»Derek Welton ist ein sehr jugendlicher Göttervater, attraktiv auch im Schiesser-Slip, mit farbigem, angenehm timbriertem Bassbariton und lobenswerter Textverständlichkeit.«
Wagner Das Rheingold, Deutsche Oper Berlin, 12 June 2021
‘The vocally firm Derek Welton as Wotan convinces without compromise.’
»Der vokal standfeste Derek Welton als Wotan … überzeug[t] ohne Abstriche.«
Wagner Das Rheingold, Deutsche Oper Berlin, 12 June 2021
‘All the smaller roles were well taken and characterful, particularly the resonant bass of Derek Welton as Creon and the messenger.’
Stravinsky Œdipus Rex, Berlin Philharmonic (Digital Concert Hall), 13 February 2021
‘Highlights could be found in the assertive delivery of Welton in the ‘Avenge Laius’ section’.
Ben Hogwood,
Arcana, 15 February 2021
Stravinsky Œdipus Rex, Berlin Philharmonic (Digital Concert Hall), 13 February 2021
‘Derek Welton made his house début at the Staatsoper as Orest and performed convincingly with his sonorous, large baritone voice.’
»Sein Hausdebüt an der Staatsoper gab Derek Welton als Orest und agierte mit sonorem, großen Bariton überzeugend.«
T Rauchenwald, Das Opernglas, October 2020
Strauss Elektra, Wiener Staatsoper, September 2020
‘Derek Welton sang the role of Orest in the celebrated
Elektra production at the Salzburg Festival and once again performs very successfully, confident, very present and convincing, with clear diction.’
»Derek Welton hat die Rolle des Orest bereits in der gefeierten Elektra Aufführung bei den Salzburger Festspielen gesungen und zeigt auch hier wieder eine sehr gelungene Leistung, sicher und sehr präsent, wortverständlich und überzeugend.«
Strauss Elektra, Wiener Staatsoper, 22 September 2020
‘Derek Welton was an Orest of extraordinarily beautiful singing and, on top of that, extremely clear diction. His technique allows him even with his entrance, “Ich muss hier warten…”, to project the precarious bass notes over the orchestra in a well-carrying
piano.’
»Derek Welton war der außerordentlich schön singende und obendrein äußerst wortdeutliche Orest. Seine Technik erlaubt es ihm, auch mit seinem Auftritt „Ich muss hier warten…“ die heiklen Basstöne mit tragfähigem Piano übers Orchester zu schicken.«
Strauss Elektra, Wiener Staatsoper, 19 September 2020
‘The vocal sensation of this performance was Derek Welton as Orest with his powerful, distinctive bass-baritone.’
»Das stimmliche Ereignis dieser Aufführung war Derek Welton als Orest mit seinem kräftigen, markanten Bassbariton.«
Susanne Zobl,
News, 14 September 2020
Strauss Elektra, Wiener Staatsoper, 11 September 2020
‘As in summer in Salzburg, Derek Welton was on stage as Orest this evening; his elegantly timbred bass-baritone flowed sonorously through his Staatsoper début. His clear diction was also stood out, enabling him to combine music and text together into a coherent whole.’
»Wie bereits im Sommer in Salzburg stand auch an diesem Abend Derek Welton als Orest auf der Bühne und ließ seinen elegant timbrierten Bassbariton sonor durch sein Staatsoperndebüt strömen. Positiv fiel außerdem die hohe Wortdeutlichkeit des Australiers auf, wodurch er Musik und Text zu einer stimmigen Gesamtheit verbinden konnte.«
Isabella Steppan,
BachTrack, 10 September 2020
Strauss Elektra, Wiener Staatsoper, 8 September 2020
‘The Australian bass-baritone Derek Welton also proves to be an absolute win, portraying an incisive, intense Orest with his beautiful timbre.’
»Als absoluter Gewinn erweist sich auch der australische Bassbariton Derek Welton, der mit schönem Timbre einen prägnanten, intensiven Orest gibt.«
Peter Jarolin,
Kurier, 9 September 2020
Strauss Elektra, Wiener Staatsoper, 8 September 2020
‘Derek Welton encases Orest’s murderousness with a dark, black tone.’
»Hausdebütant Derek Welton ummantelt Orests Mordlust mit einem dunkelschwarzen Ton.«
Strauss Elektra, Wiener Staatsoper, 8 September 2020
‘Derek Welton played an excellent Orest with his expressive baritone’.
»Derek Welton gab mit seinem wohligen Bariton ausgezeichnet den Orest« .
Tiroler Tageszeitung, 10 September 2020
Strauss Elektra, Wiener Staatsoper, 8 September 2020
‘Derek Welton made his celebrated Staatsoper début as Orest.’
»Derek Welton [gab] sein umjubeltes Staatsoperndebüt als Orest.«
Strauss Elektra, Wiener Staatsoper, 8 September 2020
‘Orest was outstandingly cast with the magnificent bass-baritone voice of Derek Welton, incidentally the designated Wotan in the – hopefully still to be taking place – new “Ring” at the Deutsche Oper Berlin.’
»Hervorragend besetzt war außerdem der Orest mit der prachtvollen Bassbaritonstimme von Derek Welton, übrigens dem designierten Wotan im – hoffentlich doch noch zu realisierenden – neuen ›Ring‹ an der Deutschen Oper Berlin.«
U Ehrensberger, Das Opernglas, September 2020
Strauss Elektra, Salzburg Festival, August 2020
‘Welton takes the prize for the most pregnant diction of the evening, and together with a substantial and effortless bass-baritone, can claim an auspicious debut.’
Strauss Elektra, Salzburg Festival, 10 August 2020
‘The recognition scene with Derek Welton's handsomely sung, youthful Orest … yielded rich rewards.’
Strauss Elektra, Salzburg Festival, 6 August 2020
‘Derek Welton sings so creamily flowingly, so internally calmly, that one could also easily see him as an ideal casting for Strauss’s Jochanaan.’
»So balsamisch-strömend, so in sich ruhend singt Derek Welton, dass man ihn sich leicht auch als Idealbesetzung für Straussens Jochanaan vorstellen kann.«
Strauss Elektra, Salzburg Festival, 6 August 2020
‘Derek Welton sang a powerful Orest with his rich bass.’
»So sang Derek Welton einen kraftvollen Orest mit sattem Bass.«
Strauss Elektra, Salzburg Festival, 6 August 2020
‘Derek Welton's Orest was mightily imposing’.
Strauss Elektra, Salzburg Festival, 1 August 2020
‘The singing is of the very highest level: the bass-baritone Derek Welton as Orest was sombre and dark, with uncanny calm and authority.’
»Gesungen wird auf allerbestem Niveau: … depressiv-dunkel, mit unheimlicher Ruhe und Souveränität der Bassbariton Derek Welton als Orest.«
Strauss Elektra, Salzburg Festival, 1 August 2020
‘Derek Welton’s Orest is both voluminous and warm-voiced.’
»[Orest] singt … Derek Welton so voluminös wie warmstimmig.«
Strauss Elektra, Salzburg Festival, 1 August 2020
‘A brilliant Derek Welton as Orest despairs believably of his role as avenger’.
»Ein fulminanter Derek Welton, der als Orest glaubhaft an seiner Rolle als Rächer verzweifelt« .
Strauss Elektra, Salzburg Festival, 1 August 2020
‘Not only does this really childlike seeming Orest sing with religious seriousness and profound bass-baritone, coming from the depths, he also takes on his murderous task with appropriate horror and bravery.’
»Nicht nur singt dieser wirklich kindlich wirkende Orest mit religiösem Ernst und profundem, aus der Tiefe kommendem Bassbariton, er nimmt auch seine mörderische Aufgabe mit angemessenem Entsetzen und mit Tapferkeit auf sich.«
Strauss Elektra, Salzburg Festival, 1 August 2020
‘Derek Welton sings Orest powerfully brilliantly, indeed, heroically’.
»Kraftvoll leuchtend, ja heroisch singt Derek Welton den Rächer Orest« .
Karlheinz Roschitz, Kronen Zeitung, 3 August 2020
Strauss Elektra, Salzburg Festival, 1 August 2020
‘Derek Welton sings with an attractive, warm-blooded baritone, on his way to Wotan.’
»Derek Welton [singt] mit attraktivem Warmblüter-Bariton auf dem Weg zum Wotan« .
Markus Thiel,
Merkur, 3 August 2020
Strauss Elektra, Salzburg Festival, 1 August 2020
‘Derek Welton portrays a troubled Orest with a dark, smooth bass’.
»Derek Welton verkörpert einen verstörten Orest mit dunkel-geschmeidigem Bass« .
Florian Oberhummer, Salzburger Nachrichten, 3 August 2020
Strauss Elektra, Salzburg Festival, 1 August 2020
‘Orest: portrayed by Derek Welton imposingly and powerfully, but also as an ultimately broken character.’
»[Orest:] imposant und mächtig, aber auch als letztlich gebrochene Figur dargestellt von Derek Welton.«
Strauss Elektra, Salzburg Festival, 1 August 2020
‘Derek Welton ist equally excellently cast as Orest.’
»Ebenso hervorragend gecastet ist Derek Welton als Orest.«
Strauss Elektra, Salzburg Festival, 1 August 2020
‘At [the head of the cast] was the magnificent Wotan of Derek Welton. He's an imposing, authoritative presence on stage and unfurled apparently endless smooth, rich tone with a properly noble and heroic ring to it – he stepped in during the last run of Götz Friedrich’s Ring, and when he finally appears in Herheim’s production, he’s likely to be quite something.’
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘The youthful Derek Welton, whose full bass-baritone flowed effortlessly, is sure to become a prominent Wotan’.
»Der jugendliche Derek Welton, der seinen vollen Bassbariton ungezwungen fließen lassen konnte, wird sicher ein bedeutender Wotan« .
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘Derek Welton, with his full, warm bass-baritone, is a pre-destined Wotan’.
»Derek Welton ist mit seinem vollen, warmen Bassbariton ein berufener Wotan« .
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘Derek Welton’s Wotan acquitted himself with a powerfully and supremely unfurling, grandly flowing voice’.
»Im mächtig und souverän entfalteten, herrschaftlich strömenden Stimmfluss hielt sich Derek Weltons Wotan« .
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘Derek Welton has the ideal nobility of voice at his command for the father of the gods, as well as the ability to impress thrillingly at the right moment.’
»Derek Welton verfügt über die ideale stimmliche Noblesse für den Göttervater, ebenso wie die Fähigkeit, im richtigen Moment packend aufzutrumpfen.«
U. Ehrensberger, Das Opernglas, July-August 2020
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘Derek Welton, who first sang the young Wotan at the last outing of the Götz Friedrich Ring three years ago, has grown into a highly distinguished exponent of the role, so it was particularly frustrating that the abridged version dispenses with “Abendlich strahlt”. Welton partly made good this loss with a stentorian “So grüss’ ich die Burg”.
Carlos María Solare, Opera, August 2020
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘The intensity with which Derek Welton infuses Wotan with full vigour … here one finally feels it once more: the fascination of opera.
»Die Intensität, mit der etwa Derek Welton den Wotan mit voller Wucht durchdringt … hier spürt man sie, die Faszination Oper, endlich wieder.«
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘I would particularly like to emphasise the excellent Wotan of Derek Welton, a luxuriously timbred young Heldenbariton of top class who, as director and god at the same time, shows how the comedic and the heroic can be brought together.’
»Besonders hervorheben möchte ich den großartigen Wotan des Derek Welton, ein luxuriös timbrierter junger Heldenbariton der Extraklasse, der als Spielleiter und Gott zugleich zeigt, wie man Komödiantisches und Heroisches durchaus auf einen Nenner bringen kann.«
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘The excellent bass-baritone of Derek Welton fills the space above the parking deck. The slim, tall singer in a long golden robe is also physically a dignified Wotan.’
»Raumgreifend füllt nun der großartige Bassbariton von Derek Welton den Raum über dem Parkdeck. Der schlanke, hoch gewachsene Sänger im langen güldenen Mantel ist auch figürlich ein würdiger Wotan.«
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘Even in a dressing gown, Derek Welton is an impressive Wotan, with the exemplary diction of a true Heldenbariton with both beautiful colours and exemplary power.’
»Ein auch im Schlafrock beeindruckender Wotan ist Derek Welton mit beispielhafter Diktion eines wahren Heldenbaritons so schöner Farben wie exemplarischer Nachdrücklichkeit.«
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘Derek Welton shows as “director” Wotan with his baritonal coolness that he is on the way to being a leading Wagner singer.’
»Derek Welton zeigt als Regisseur Wotan mit seiner baritonalen Coolness, dass er auf dem Weg zu einem führenden Wagner-Sänger ist.«
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘Derek Welton as Wotan masters the part effortlessly.’
»Auch Derek Welton als Wotan ohne Vertragsspeer bewältigt die verkürzte Partie mühelos.«
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘Derek Welton’s Wotan convinces with a rich dynamic range and great sound’.
»Der Wotan Derek Weltons … überzeugt aber durch eine reiche dynamische Spannweite und großen Klang« .
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘Thomas Blondelle as Loge and Derek Welton, as a Wotan with enormous reserves at his command, stand out in an excellent Ensemble.’
»Thomas Blondelle als … Loge und Derek Welton als über enorme Reserven verfügender Wotan setzen Akzente im ausgezeichneten Ensemble.«
Wagner, arr. Dove Das Rheingold, Deutsche Oper Berlin, 12 June 2020
‘The chief and most important Anabaptist is the bass-baritone Welton, frankly excellent.’
‘El jefe y más importante … [anabaptista] es el bajobarítono … Welton, francamente excelente.’
Meyerbeer Le Prophète, Deutsche Oper Berlin, 6 March 2020
‘Brindley Sherratt’s Rocco (casual white shirt) and Derek Welton’s Pizarro (villanous black) stole the honours among the rest’.
Beethoven Fidelio, Hallé Orchestra, 27 February 2020
‘The Orest of Australian Derek Welton is quite imposing, with a solemn, genuine, full and uniform voice, noble and well produced.’
‘Bastante imponente el Orestes del australiano Derek Welton, de voz solemne y franca, tupida, uniforme, noble y bien emitida.’
Strauss Elektra, Palau de les Arts “Reina Sofia” Valencia, 27 January 2020
‘Derek Welton produces a superb bass as Orest.’
« Le baryton australien Derek Welton offre ses superbes graves à Oreste ».
Strauss Elektra, Palau de les Arts “Reina Sofia” Valencia, 27 January 2020
‘Orest … was sung by the Australian bass-baritone Derek Welton, whose attractive dark timbre fulfilled this heroic and lyrical music … Welton sang with extreme beauty and style, creating a noble character.’
Strauss Elektra, Palau de les Arts “Reina Sofia” Valencia, 18 January 2020
‘The Orestes of Derek Welton was also excellent. Not only for the volume, clarity and precision of his declamatory singing, but also for his interpretive flexibility; it is not easy to move from threatening to tenderness with credibility and without effort.’
‘También fue excelente el Orestes de Derek Welton. No solo por el volumen, claridad y precisión de su canto declamatorio, sino también por la flexibilidad interpretativa; no es sencillo pasar de lo amenazante a la ternura con credibilidad y sin esfuerzo.’
Strauss Elektra, Palau de les Arts “Reina Sofia” Valencia, 18 January 2020
‘Orestes was Derek Welton, a young Australian bass-baritone who set the scene on fire with his beautiful, striking and incisive voice. His vocal projection is brilliant because of his effective and free resonators, and his expressive resources are enormous.’
‘Orestes fue Derek Welton, joven barítono bajo australiano que incendió la escena con su bella, impactante, e incisiva voz. Su proyección vocal es fulgurante debido sus efectivos y sueltos resonadores, y sus recursos expresivos son bárbaros.’
Strauss Elektra, Palau de les Arts “Reina Sofia” Valencia, 18 January 2020
‘Derek Welton will sing Orest in Salzburg; in the same character in Valencia he demonstrated a remarkable vocal authority as well as a voice of beautiful, dark timbre.’
‘Derek Welton será Orest en Salzburgo; en ese mismo personaje en Valencia demostró una notable autoridad vocal, además de una voz de bello timbre oscuro.’
Strauss Elektra, Palau de les Arts “Reina Sofia” Valencia, 18 January 2020
‘The vocal aspect was ennobled by the Australian bass-baritone Derek Welton, who created an Orest of eloquent vocal and stage presence, qualities which he already made clear in his acclaimed Klingsor (
Parsifal) in the last Bayreuth Festival, and now has reaffirmed with powerful firmness in Valencia.’
‘El capítulo vocal quedó ennoblecido por el bajo-barítono australiano Derek Welton, que compuso un Orest de elocuente empaque vocal y escénico, cualidades que ya dejó patentes en su aplaudido Klingsor (Parsifal) del pasado Festival de Bayreuth, y ahora ha revalidado con poderosa firmeza en València.’
Justo Romero,
Scherzo, 20 January 2020
Strauss Elektra, Palau de les Arts “Reina Sofia” Valencia, 18 January 2020
‘The Orestes of Derek Welton was excellent, especially in his initial monologue’.
‘Excelente el Orestes de Derek Welton, especialmente en su monólogo inicial’.
Gonzalo Alonso,
La Razón, 20 January 2020
Strauss Elektra, Palau de les Arts “Reina Sofia” Valencia, 18 January 2020
‘Derek Welton, the Australian bass-baritone, was a more than worthy Orestes, who starred in a touching duo in his encounter with Elektra’.
‘Derek Welton, el bajo-barítono australiano, fue un más que digno Orestes, que protagonizó un conmovedor dúo en su encuentro con Elektra’.
Strauss Elektra, Palau de les Arts “Reina Sofia” Valencia, 18 January 2020
‘Derek Welton, in the role of Orestes, was also very well received by the public.’
‘Derek Welton en el papel de Orestes también ha sido muy bien recibido por el público.’
Strauss Elektra, Palau de les Arts “Reina Sofia” Valencia, 18 January 2020
‘The powerfully present Derek Welton as Klingsor.’
»Der markig präsente Derek Welton als Klingsor.«
Roberto Becker, Orpheus, September/Oktober 2019
Wagner Parsifal, Bayreuther Festspiele, July-August 2019
‘The singers are well cast, with standout performances from … Elena Pankratova … and Derek Welton as Klingsor, who evidently relished playing the villain with joy – his being quite an act.’
Wagner Parsifal, Bayreuther Festspiele, July-August 2019
‘Very good was the baritone Derek Welton, an introverted Bluebeard … a strong voice, sometimes caressing, sometimes tender, with declamations in
mezzo forte which concealed reserved despair.’
„Foarte bun a fost baritonul Derek Welton, un introvertit Barbă Albastră … O voce puternică, câteodată mângăietoare, câteodată tandră, cu declamaţii în mezzoforte, ce ascundeau disperarea reţinută.”
Costin Popa,
Adevarul, 11 September 2019
Bartók A kékszakállú herceg vára, George Enescu Festival, 4 September 2019
‘Decca cast the role [of the Gatekeeper] from strength in the shape of René Pape, but Derek Welton challenges him for nobility of tone and brings a real sense of wonder to his solo in the final Act where he recounts how Heliane saved his daughter from death.’
Korngold Das Wunder der Heliane (DVD), Deutsche Oper Berlin, released June 2019
‘This year, fortunately, the excellent Australian bass-baritone Derek Welton had been chosen to play the evil sorcerer, Klingsor: a wonderful antagonist with a terrifying, dark and cold voice!’
»I år havde man heldigvis valgt den fremragende australske basbaryton Derek Welton til partiet som den onde troldmand, Klingsor. Herlig antagonist med en frygtindgydende, mørk og kold stemme!«
Wagner Parsifal, Bayreuther Festspiele, 19 August 2019
‘The powerful-voiced Klingsor of Derek Welton shows completely demonic stature.’
»Der stimmgewaltige Klingsor von Derek Welton zeigt durchaus dämonische Größe.«
Wagner Parsifal, Bayreuther Festspiele, 15 August 2019
‘Derek Welton (Klingsor) excellently portrays the evil man, cast out from the brotherhood. His well-placed bass-baritone sounds supple in diction and radiates lustfulness with relish.’
»Derek Welton (Klingsor) gibt vorzüglich den bösen, von der Bruderschaft Verstoßenen. Sein gut geführter Bassbariton klingt geschmeidig in der Diktion und strahlt genussvolle Lüsternheit aus.«
Wagner Parsifal, Bayreuther Festspiele, 5 August 2019
‘Derek Welton, as Klingsor, completes the cast impeccably.’
« Derek Welton, en Klingsor, complète impeccablement ce casting. »
Wagner Parsifal, Bayreuth Festival, 5 August 2019
‘Derek Welton portrayed the hate-filled Klingsor commandingly, convincingly und powerfully voiced with his voluminous bass.’
»Eindrucksvoll, überzeugend und stimmgewaltig gestaltete Derek Welton den hasserfüllten Klingsor mit seinem voluminösen Bass.«
Randi Dohrin,
IOCO, 3 August 2019
Wagner Parsifal, Bayreuther Festspiele, 2 August 2019
‘The Australian bass-baritone Derek Welton, an Ensemble member of the Deutsche Oper Berlin, sang a world-class Klingsor in all registers and has the makings of a great representative of his craft. His German pronunciation is impressively good’.
»Der australische Bassbariton Derek Welton, Ensemblemitglied der Deutschen Oper Berlin, sang als Klingsor Weltklasse in allen Registern und hat das Zeug zu einem ganz großen Vertreter seiner Zunft. Seine deutsche Aussprache ist beeindruckend gut« .
Wagner Parsifal, Bayreuth Festival, 30 July 2019
‘Powerful-voiced: Derek Welton’.
»Stimmgewaltig: Derek Welton« .
Wagner Parsifal, Bayreuther Festspiele, 30 July 2019
‘As Pförtner, Derek Welton wins favour with his opulent bass-baritone.’
»Als Pförtner nimmt Derek Welton mit seinem opulenten Bassbariton für sich ein.«
Korngold Das Wunder der Heliane (DVD), Deutsche Oper Berlin, released June 2019
‘The highlight of evening is definitely the beginning of the second act, the meeting of Kundry and Klingsor. The young Australian Derek Welton portrays him, bristlingly and optimally understandable, with a creamy, full baritone.’
»Höhepunkt des Abends ist sicherlich der Beginn des zweiten Aktes, das Treffen von Kundry und Klingsor. Diesen stellt strotzend bestens verständlich der junge Australier Derek Welton dar mit einem weichen vollen Bariton.«
Wagner Parsifal, Bayerische Staatsoper, 28 March 2019
‘Derek Welton has thrilled already in Bayreuth as Klingsor. In this production he proves that this role consists not only of wickedness and vengeance, but that Klingsor, as a crazy, manic and scornful hermit, has earned just as much pity as Amfortas.’
»Derek Welton begeisterte schon in Bayreuth als Klingsor. In dieser Produktion bewies er, dass diese Rolle nicht nur aus Boshaftigkeit und Rache besteht, sondern dass Klingsor als verrückter, durchgeknallter und höhnischer Eremit ebenso viel Mitleid wie Amfortas verdient hat.«
Wagner Parsifal, Bayerische Staatsoper, 28 March 2019
‘Derek Welton was excellent as a young, vital Klingsor, which was wholeheartedly vocally matched with an extraordinarily strong, excellently Italian-schooled and expressive Heldenbariton.’
»Großartig war Derek Welton, der einen noch jungen, vitalen Klingsor gab, dem er mit ungemein kräftigem, hervorragend italienisch geschultem und ausdrucksstarkem Heldenbariton auch vokal voll und ganz entsprach.«
Wagner Parsifal, Bayerische Staatsoper, 24 March 2019
‘Derek Welton was a Klingsor with incisive diction and a baritone full of character.’
»Mit prägnanter Diktion und charaktervollem Bariton war Derek Welton Klingsor.«
Wagner Parsifal, Bayerische Staatsoper, 24 March 2019
‘Pandolfe [was] sung by bass-baritone Derek Welton, another fine artist from down under in his own American debut’
Mark Thomas Ketterson, Opera News, March 2019
Massenet Cendrillon, Lyric Opera of Chicago, 1 December 2018
‘Most revelatory of all is Welton in the role of Klingsor; it’s a relatively small part, but it packs an enormous punch, and he is electric in it.’
Wagner Parsifal, Victorian Opera, 20 February 2019
‘Derek Welton is as electrifying and kinetic as his wild costume.’
Wagner Parsifal, Victorian Opera, 20 February 2019
‘Fresh from success in Bayreuth, it’s brilliant to see Melburnian Derek Welton excel as the show-stealing baddie.’
Bridget Davies,
The Age, 21 February 2019
Wagner Parsifal, Victorian Opera, 20 February 2019
‘Derek Welton[’s] rich, pure bass-baritone and confident acting left one wanting more Klingsor’.
Wagner Parsifal, Victorian Opera, 20 February 2019
‘A commanding presence with a mighty bass-baritone voice, [Derek Welton] was larger than life in a glittering suit that magnified his power.’
Wagner Parsifal, Victorian Opera, 20 February 2019
‘As Cendrillon’s wife-weary father, Derek Welton was impressive. His resonant bass-baritone supported the well-shaped lines with ease. The confidence Welton gave to the high passages stood out, along with this clarity in his lower register. In Act III, Welton approached the scene with Cendrillon with the intimacy some would associate with Verdi’s famous father-daughter exchanges.’
Massenet Cendrillon, Lyric Opera of Chicago, 1 December 2018
‘Bass-baritone Derek Welton, making his American operatic debut as Cinderella’s browbeaten father, Pandolfe, proved a fitting counterpart to Madame, his resonant instrument reflecting his character’s warmth.’
Massenet Cendrillon, Lyric Opera of Chicago, 1 December 2018
‘Perhaps the greatest revelation was Derek Welton’s dark, resonant singing and powerful physical presence as Klingsor. Clearly this young, British-trained Australian is destined for a big Wagnerian career.’
Hugh Canning, Opera, October 2018
Wagner Parsifal, Bayreuth Festival, 1 August 2018
‘If there were currently a paramount Klingsor, he would be called Derek Welton. It was not for no reason that the Australian with the stage presence as black as night and equally dark voice appeared again after 2017 at the Festival.’
»Wenn es derzeit einen überragenden Klingsor geben sollte, könnte er Derek Welton heißen. Nicht umsonst durfte der Australier mit der nachtschwarzen Bühnenaura und ebensolcher Stimme nach 2017 wieder in dieser Rolle bei den Festspielen erscheinen.«
Stephan Schwarz-Peters, Oper!, October 2018
Wagner Parsifal, Bayreuth Festival, 26 July 2018
‘Derek Welton’s Klingsor, for the second year in this role, is just as outstanding. In his dark baritone bass tone, he enlightens the anger, doubt and frustration of the evil wizard.’
Wagner Parsifal, Bayreuth Festival, 25 August 2018
‘Derek Welton demonstrated that the role of Klingsor can also be sung and not necessarily shouted.’
»Derek Welton bewies, dass man die Partie des Klingsors auch singen und nicht unbedingt schreien muss.«
Wagner Parsifal, Bayreuth Festival, 19 August 2018
‘Derek Welton wins favour with his virile bass and great clarity of text.’
»Derek Welton [kann] als Klingsor mit virilem, sehr textverständlichem Bass für sich einnehmen.«
Wagner Parsifal, Bayreuth Festival, 1 August 2018
‘With an attractive colour and a smooth tone, the young and generous Australian singer Derek Welton offered as Klingsor a reading more human than Mephistophelian of the necromancer, taking care of his vocal production with detailled phrasing of high quality.’
‘De color atractivo y timbre terso, el joven y generoso cantante australiano Derek Welton ofreció como Klingsor una lectura más humana que mefistofélica del nigromante, cuidando la emisión con detalles de gran clase en el fraseo.’
Wagner Parsifal, Bayreuth Festival, 1 August 2018
‘Derek Welton, with the clarity of his text and his vocal tone, is one of the best performers of Klingsor of recent times.’
»Derek Welton … ist mit seiner Textverständlichkeit und seinem Stimmklang einer der besten Klingsor-Darsteller der letzten Zeit.«
Wagner Parsifal, Bayreuth Festival, 26 July 2018
‘Brilliant text clarity: Derek Welton as merciless Klingsor.’
»Brillante Textverständlichkeit: Derek Welton als erbarmungsloser Klingsor« .
Wagner Parsifal, Bayreuth Festival, 26 July 2018
‘Derek Welton is undoubtedly one of the best castings of Klingsor currently to be found.’
»Derek Welton ist sicher einer der besten Klingsor-Besetzungen, die derzeit zu finden sind.«
Wagner Parsifal, Bayreuth Festival, 26 July 2018
‘Derek Welton is a Klingsor with an unusually voluminous voice for this part.’
»Derek Welton [ist] ein Klingsor mit einem für diese Partie ungewöhnlichen Stimmvolumen.«
Wagner Parsifal, Bayreuth Festival, 26 July 2018
‘The Klingsor of Australian bass-baritone Derek Welton is without a doubt one of the best of the moment, with an uncommon quality of pronunciation and projection which make the text perfectly clear.’
« Le Klingsor du baryton-basse australien Derek Welton est sans doute l’un des meilleurs du moment, avec une qualité de prononciation et de projection peu commune qui rend le texte parfaitement clair. »
Wagner Parsifal, Bayreuth Festival, 30 July 2018
‘As Klingsor, Derek Welton is less demonic, rather energetically boastful with his beautiful baritone.’
»Als Klingsor weniger dämonisch, vielmehr mit schönem Bariton vital auftrumpfend ist Derek Welton.«
Wagner Parsifal, Bayreuth Festival, 26 July 2018
‘Derek Welton as Klingsor portrays a confused religious fanatic with great presence.’
»Derek Welton zeichnet als Klingsor mit großer Präsenz einen verwirrten Religionsfanatiker.«
Wagner Parsifal, Bayreuth Festival, 26 July 2018
‘Derek Welton sings Klingsor with a dangerous, smooth bass-baritone’.
»Derek Welton singt den Klingsor mit gefährlich-geschmeidigem Bassbariton« .
Wagner Parsifal, Bayreuth Festival, 26 July 2018
‘Andreas Schager is a commanding, powerful protagonist, Derek Welton as Klingsor his virile adversary.’
»Andreas Schager ist dagegen ein souverän-kraftvoller Titelheld, Derek Welton als Klingsor sein viriler Gegenspieler.«
Wagner Parsifal, Bayreuth Festival, 26 July 2018
‘Derek Welton as Klingsor was a revelation last year and this year continues to advance in the role of the knight rejected because of his ambition, who in this production is a ‘freaky’ sadomasochistic collector of crosses.’
‘Derek Welton, como Klingsor fue una revelación el pasado año y este año sigue avanzando en el papel del caballero repudiado por su ambición y que en esta producción es un ‘friki’ sadomasoquista coleccionador de cruces.’
Wagner Parsifal, Bayreuth Festival, 26 July 2018
‘Derek Welton was marvellously unhinged with incandescent rage and malice as Klingsor.’
Wagner Parsifal, Bayreuth Festival, 26 July 2018
6 June 2018
‘Welton gave a magnificent interpretation, encompassing effortlessly all the disparate demands of the vocal writing’.
Elgar The Dream of Gerontius, Boston Philharmonic Orchestra, 20 April 2018
‘The Australian bass Derek Welton was both the Priest and the Angel of Agony, singing with a clarion tone that was particularly effective as Gerontius breathes his last at the end of Part I.’
Elgar The Dream of Gerontius, Boston Philharmonic Orchestra, 20 April 2018
‘Bass-baritone Derek Welton as the Doorman … makes you sit up and take notice of his rich and profound voice.’
»Der Bassbariton Derek Welton als Pförtner … lässt angesichts seiner reichen und profunden Stimme aufhorchen.«
Korngold Das Wunder der Heliane, Deutsche Oper Berlin, 6 April 2018
‘Derek Welton, member of the Ensemble of the theatre, always impeccable both vocally and on stage.’
‘Derek Welton, ese miembro del ensemble del teatro, siempre impecable tanto en lo vocal como en lo escénico.’
Korngold Das Wunder der Heliane, Deutsche Oper Berlin, 6 April 2018
‘The Australian bass-baritone Derek Welton is also becoming an absolute crowd favourite and was celebrated at his solo bow with ovations for his splendid singing performance.’
»Der australische Bassbariton Derek Welton avanciert ebenso zu einem absoluten Publikumsliebling und wird für die prächtige Sangesleistung seiner kleinere Rolle beim Solovorhang mit Ovationen gefeiert.«
Korngold Das Wunder der Heliane, Deutsche Oper Berlin, 30 March 2018
‘Derek Welton was tailor-made to his role as a powerful but beautiful-sounding Pförtner, entrusted with the most rewarding melodies which flowed out from his extremely distinctive-sounding bass-baritone.’
»Passgenau dazu war Derek Welton als kraftvoller, aber klangschönerer Pförtner besetzt, da vom Komponisten mit dankbarsten Melodien betraut, die seinem ausgesprochen apart klingenden Bassbariton entströmten.«
M Lehnert, Opernglas, April 2018
Korngold Das Wunder der Heliane, Deutsche Oper Berlin, 18 March 2018
‘Derek Welton is a vocal revelation as Pförtner, a creamily intoning baritone with excellent stage presence.’
»Eine stimmliche Offenbarung ist auch Derek Welton als Pförtner, ein balsamisch intonierender Bariton mit großartiger Bühnenpräsenz.«
Korngold Das Wunder der Heliane, Deutsche Oper Berlin, 22 March 2018
‘Derek Welton makes an extraordinarily strong impression as Pförtner with a highly cultivated, full-voiced baritone.’
»Derek Welton hinterlässt als Pförtner mit hochkultiviertem, stimmvollem Bariton einen ungemein starken Eindruck.«
Korngold Das Wunder der Heliane, Deutsche Oper Berlin, 18 March 2018
‘All supporting performers shine too, above all Derek Welton as “Pförtner”.’
»Auch alle Nebenrollendarsteller [glänzen]: … vor allem aber Derek Welton als ‚Pförtner‘.«
Korngold Das Wunder der Heliane, Deutsche Oper Berlin, 18 March 2018
‘Derek Welton sings the
Pförtner with charming eloquence.’
»Derek Welton singt den Pförtner mit einnehmender Eloquenz.«
Korngold Das Wunder der Heliane, Deutsche Oper Berlin, 18 March 2018
‘Derek Welton’s Pförtner, as minister and sympathiser to the lovers, impresses with a warm, powerful sound.’
»Derek Weltons Pförtner als Seelsorger und Mitleidender der Liebenden beeindruckt mit einem warmen Klangstrom.«
Korngold Das Wunder der Heliane, Deutsche Oper Berlin, 18 March 2018
‘I have hardly ever heard a better role début than that of Derek Welton as Pförtner.’
»Ein besseres Rollendebüt als das von Derek Welton als Pförtner habe ich kaum je gehört.«
Korngold Das Wunder der Heliane, Deutsche Oper Berlin, 18 March 2018
‘[Impersonating] the unholy trio of Anabaptists with a fine feeling for their grotesque elements, [Derek Welton dispatched] Zacharie’s couplets with great verve.’
Opera, March 2018
Meyerbeer Le Prophète, Deutsche Oper Berlin, November 2017
‘Baritone brilliance: Derek Welton gives a standout turn singing Martinů’
‘Best of all, Derek Welton in Gilgamesh’s questioning of his friend Enkidu’s spirit’.
David Nice, BBC Music Magazine, January 2018
Martinů The Epic of Gilgamesh, (CD), Supraphon Records, released 20 October 2017
‘Derek Welton’s hammer blows as Donner are well worth listening to and can compete with the massive sound of the Staatskapelle Dresden.’
»Derek Weltons Hammerschläge als Donner können sich hören lassen und bestehen gegen den wuchtigen Klang der Staatskapelle Dresden.«
Wagner Das Rheingold, Semperoper Dresden, 13 January 2018
‘Every word is clear, too, thanks to a fine quartet of soloists, headed by baritone Derek Welton’.
Martinů The Epic of Gilgamesh, (CD), Supraphon Records, released 20 October 2017
‘All three [Anabaptists] were remarkable, especially bass-baritone Derek Welton’.
Meyerbeer Le Prophète, Deutsche Oper Berlin, 16 December 2017
‘Well portrayed: the trio of menacing Anabaptists, with special mention of the excellent Zacharie of the Australian bass-baritone Derek Welton’.
‘Ben rappresentato il terzetto dei minacciosi anabattisti con una menzione speciale per l’ottimo Zacharias del basso-baritono australiano Derek Welton’.
Meyerbeer Le Prophète, Deutsche Oper Berlin, 3 December 2017
‘The remarkable Derek Welton’s French pronunciation and the placement of his voice certainly make him one of the great strengths of this production.’
« Le remarquable Derek Welton … Sa prononciation du français et le placement de sa voix font assurément de lui l’une des grandes forces de cette production. »
Meyerbeer Le Prophète, Deutsche Oper Berlin, 3 December 2017
‘The three Anabaptists were performed with an appropriately dry severity by Derek Welton (Zacharie), Andrew Dickinson (Jonas) and Noel Bouley (Mathisen); of the three it was Mr Welton whose firm, intelligent phrasing offered flashes of independence from the hive-mind.’
Meyerbeer Le Prophète, Deutsche Oper Berlin, 26 November 2017
‘The role of the Herald is very difficult despite being short, and Welton carries it out with honours.’
‘La parte del Heraldo es dificilésima, a pesar de ser corta, y Welton sale con honores del desempeño.’
Wagner Lohengrin (DVD), Semperoper Dresden, released July 2017
‘Derek Welton is a fine Herald, his voice fresh and sturdy.’
Wagner Lohengrin (DVD), Semperoper Dresden, released July 2017
‘Of the soloists, Derek Welton makes most impact’.
Martinů The Epic of Gilgamesh, (CD), Supraphon Records, released 20 October 2017
‘Praise also for Derek Welton’.
»Lob auch für Derek Welton« .
Meyerbeer Le Prophète, Deutsche Oper Berlin, 26 November 2017
‘The soloists—especially Lucy Crowe’s radiant soprano and Derek Welton’s youthful “Wagnerian” bass—are excellent’.
Hugh Canning, The Sunday Times, 26 November 2017
Martinů The Epic of Gilgamesh, (CD), Supraphon Records, released 20 October 2017
‘Very intense, powerful and with great empathy for his character’.
»Sehr intensiv, kraftvoll und mit viel Einfühlungsvermögen für seine Figur« .
Jan Ritterstaedt, WDR 3, November 2017
Martinů The Epic of Gilgamesh, (CD), Supraphon Records, released 20 October 2017
‘Derek Welton, with his sonorous voice is, as always, very present and committed as Albany’.
« Derek Welton, avec sa voix sonore est comme toujours très présent et engagé en Albany ».
Guy Cherqui,
Wanderer, 10 September 2017
Reimann Lear, Salzburg Festival, 20 August 2017
‘The powerful-voiced Klingsor was Derek Welton; he was also acclaimed by the public.’
»Der stimmgewaltige Klingsor war Derek Welton, auch er wurde vom Publikum gefeiert.«
Manfred Zweck, Orpheus, September/Oktober 2017
Wagner Parsifal, Bayreuth Festival, 27 July 2017
‘Singing exceptionally as Albany: Derek Welton.’
»[Als] Albany: der … vorzüglich singende Derek Welton« .
Reimann Lear, Salzburg Festival, 29 August 2017
‘Derek Welton (Albany) shows once more what a wonderful voice he has.’
»Derek Welton (Albany) beweist einmal mehr, welch wunderbare Stimme er hat.«
Reimann Lear, Salzburg Festival, 29 August 2017
‘Derek Welton’s Klingsor was one of the best sung I have heard: no mere caricature, deeply musical in its malevolence.’
Wagner Parsifal, Bayreuther Festspiele, 25 August 2017
‘Derek Welton, with a bass-baritone of easy production, delivered an Albany with legato and a great presence’.
« Derek Welton, baryton-basse à l’émission facile … livre un Albany legato et d’une grande présence ».
Bertrand Bolognesi,
Anaclase, 23 August 2017
Reimann Lear, Salzburg Festival, 23 August 2017
‘We are spoiled with the valiant Derek Welton (Herald)’.
« On est gâté avec les vaillants Derek Welton (Héraut)»7;.
Wagner Lohengrin (DVD), Semperoper Dresden, released July 2017
‘In Derek Welton, an outstanding Klingsor has been found.’
»Mit Derek Welton ist ein hervorragender Klingsor gefunden.«
Wagner Parsifal, Bayreuth Festival, 21 August 2017
‘The Duke of Albany is powerfully projected by Derek Welton’.
« Le Duc d’Albany [est] puissamment projeté de Derek Welton ».
Reimann Lear, Salzburg Festival, 20 August 2017
‘Extraordinary: the Klingsor of Derek Welton, a disturbing and very well
sung Klingsor, without falling into histrionics or caricature.’
‘Extraordinario el Klingsor de Derek Welton, un Klingsor inquietante y muy bien cantado, sin caer en el histrionismo o la caricatura.’
Miguel ángel González Barrio,
Scherzo, October 2017
Wagner Parsifal, Bayreuth Festival, 5 August 2017
‘The new Klingsor of the powerful-voiced Derek Welton stands out from the cast’.
»Aus dem Ensemble ragt der neue Klingsor des stimmgewaltigen Derek Welton« .
Wagner Parsifal, Bayreuth Festival, 27 July 2017
‘The part of Klingsor is often more characterised than sung; Derek Welton sings it fully and on top of that is convincing in characterisation.’
»Die Partie des Klingsor wird oft mehr charakterisiert als gesungen; Derek Welton singt sie voll aus und überzeugt obendrein in der Gestaltung.«
Wagner Parsifal, Bayreuth Festival, 27 July 2017
‘Terrific: the demonic entrance of Derek Welton as Klingsor. With shaved head, black beard and likewise coloured voice, he would also pass for a bouncer, with his choleric temperament he seems not to be trifled with.’
»Grandios der dämonische Auftritt des Derek Welton als Klingsor. Mit Glatzkopf, schwarzem Bart und ebenso gefärbter Stimme würde er auch als Türsteher durchgehen, mit seinem cholerischen Temperament scheint nicht zu spaßen zu sein.«
Wagner Parsifal, Bayreuth Festival, 27 July 2017
‘Derek Welton gives a rightly acclaimed Bayreuth début as Klingsor’.
»Derek Welton gibt ein zu recht gefeiertes Bayreuth-Debüt als Klingsor« .
Wagner Parsifal, Bayreuth Festival, 27 July 2017
‘In contrast, Derek Welton sounds full-bodied and youthfully fresh’.
»Kernig-jugendfrisch tönt dagegen Derek Welton« .
Walter Weidringer, Die Presse, 29 July 2017
Wagner Parsifal, Bayreuth Festival, 27 July 2017
‘With striking timbre and strong stage presence, Derek Welton is a splendidly disingenuous Klingsor’.
»Derek Welton [gibt] mit markantem Timbre und starker Bühnenpräsenz einen herrlich verschlagenen Klingsor« .
Münchner Merkur, 29 July 2017
Wagner Parsifal, Bayreuth Festival, 27 July 2017
‘Derek Welton is a Klingsor with demonic stage presence and a full-bodied baritone.’
»Derek Welton ist ein Klingsor mit dämonischer Bühnenpräsenz und kernigem Bariton.«
Wagner Parsifal, Bayreuth Festival, 27 July 2017
‘Derek Welton’s well-sung Herald.’
Neil Fisher, The Times, 14 July 2017
Wagner Lohengrin (DVD), Semperoper Dresden, released July 2017
‘The young Wotan was sung by the ensemble member Derek Welton, who scored a personal triumph, crowned by a most lyrical “Abendlich strahlt”.’
Carlos Maria Solare, Opera, July 2017
Wagner Das Rheingold, Deutsche Oper Berlin, April 2017
‘With Derek Welton exciting attention as the
Rheingold Wotan: top performances in this cycle.’
»[Mit] dem aufhorchen lassenden Derek Welton als »Rheingold« -Wotan wahre Top-Leistungen in diesem Zyklus.«
M Lehnert, Opernglas, May 2017
Wagner Das Rheingold, Deutsche Oper Berlin, April 2017
‘Derek Welton, as the first, most youthful, of three Wotans, stamped vocal excellence on the role in an iron-clad performance underneath which a deeply nuanced vocal power full of molten riches percolated through.’
Wagner Das Rheingold, Deutsche Oper Berlin, 13 April 2017
‘All three Wotans had sterling qualities to their portrayals. Derek Welton’s Rheingold matched youthfulness to power and strength’.
Wagner Das Rheingold, Deutsche Oper Berlin, 13 April 2017
‘Derek Welton … sang with big, fresh, healthy, ringing tone from beginning to end. Tall, relatively slim and physically imposing, he was also a dramatically convincing Wotan.’
Wagner Das Rheingold, Deutsche Oper Berlin, 13 April 2017
‘The young bass-baritone Derek Welton is most commendable in the character of Wotan, whose vocal line is always infinitely precise’.
« [Le] jeune baryton-basse Derek Welton [est] très appréciable en Wotan de caractère dont la ligne de chant est toujours infiniment précise ».
Wagner Das Rheingold, Deutsche Oper Berlin, 13 April 2017
‘In
Das Rheingold, Wotan is sung by the impeccable Derek Welton.’
»Wotan [wird] im Rheingold noch vom untadeligen Derek Welton gesungen« .
Wagner Das Rheingold, Deutsche Oper Berlin, 1 April 2017
‘Derek Welton is the Catholic leader Saint-Bris with well-carrying bass, who opens up appropriately in the sword consecration.’
»Derek Welton ist der Katholikenanführer Saint-Bris mit tragfähigem Baß, der bei der Schwerterweihe auch richtig aufdreht.«
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 4 February 2017
‘Derek Welton gave the murderous St Bris appropriately lugubrious tones.’
Carlos María Solare, Opera, February 2017
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Similarly impressive, the Australian baritone Derek Welton in the role of Saint-Bris, absorbed in the ecstasy of his barbarism.’
»ähnlich eindrucksvoll der australische Bariton Derek Welton in der Rolle des in der Ekstase der Barbarei aufgehenden St. Bris« .
Jürgen Kesting, Opernwelt, January 2017
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Vaughan Williams himself was represented by his Fantasia on Christmas Carols for baritone solo, choir and orchestra, which was given a first-rate performance, showcasing Derek Welton’s magnificently resonant voice.
Barry Creasy,
MusicOMH, 21 December 2016
An English Folk Christmas, St John’s Smith Square, 20 December 2016
‘Strong: the Angelotti of Derek Welton.’
‘Valido l’Angelotti di Derek Welton.’
Carla Andrea Fundarotto,
GBOpera, 20 December 2016
Puccini Tosca, Deutsche Oper Berlin, 14 December 2016
‘A wonderful surprise was the Herald of Derek Welton, member of the ensemble of the Deutsche Oper, whom we would like to hear again soon in roles of greater significance.’
‘Bella, bellissima sorpresa l’Araldo di Derek Welton, membro della compagnia della Deutsche Opera, che vorremmo riascoltare presto in ruoli di maggior impegno.’
Wagner Lohengrin, Deutsche Oper Berlin, 4 December 2016
‘Highest authority and tireless sonority came also from Derek Welton (Saint-Bris)’.
»Höchste Kompetenz und unermüdlicher Wohlklang [kam] auch von Derek Welton (Saint-Bris)« .
M Lehnert, Opernglas, December 2016
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Derek Welton, the Australian bass-baritone with velvety timbre in the role of Saint-Bris, with exemplary diction and a real presence. His is one of the most secure voices of the house, without any doubt a great future. His Saint-Bris is impressive.’
« Derek Welton, le baryton-basse australien au timbre si velouté … dans le rôle de Saint Bris, avec une diction exemplaire et une vraie présence. C’est une des voix les plus sûres de la maison, sans aucun doute un grand avenir. Son Saint Bris est impressionnant. »
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Derek Welton depicted a Saint-Bris determined and vocally secure while icy in character.’
‘Derek Welton ha dipinto un St. Bris determinato e sicuro vocalmente quanto glaciale come personaggio.’
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 20 November 2016
‘Derek Welton and Marc Barrard were standouts as Valentine’s father, Saint-Bris, and Nevers, Valentine’s fiancé.’
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 17 November 2016
‘The Australian bass-baritone Derek Welton is an excellent (and implacable) Saint-Bris’.
« Le baryton-basse australien Derek Welton est un excellent (et implacable) Saint-Bris ».
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 17 November 2016
‘The septet of main characters was completed by Derek Welton as the staunch opponent of the Huguenots, the Count of Saint-Bris, whose robust baritone carried itself without any hesitation from the start of the performance until the final chilling “ma fille”’.
»Septet hlavných postáv doplnil Derek Welton sťaby zarytý odporca hugenotov Gróf de Saint-Bris, ktorého rázny barytón sa niesol bez zaváhania od začiatku predstavenia až do mrazivého záverečného ma fille« .
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 17 November 2016
‘Derek Welton’s strong Saint-Bris gave the massacre preparations of the fourth act a necessary urgency and focus’.
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Derek Welton contrasts with full bass-baritone as the sinister Count of Saint-Bris.’
»Derek Welton kontrapunktiert mit breitem Bassbariton als finsterer Graf von Saint-Bris.«
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘The Australian Derek Welton is a Saint-Bris of a rather velvety timbre, perfect diction and a homogeneous and voluminous voice: a bass-baritone without doubt to follow, in particular in Wagnerian roles.’
‘El australiano Derek Welton es un Saint-Bris de timbre algo aterciopelado, dicción perfecta y voz homogéna y de buen volumen: un bajo-barítono sin duda a seguir, en particular para roles wagnerianos.’
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Nevers was portrayed by Marc Barrard with great credibility, just as Valentine’s unyielding father, Saint-Bris, who was played by Derek Welton in a full-bodied bass-baritone.’
»Nevers wurde von Marc Barrard mit großer Glaubwürdigkeit verkörpert, ebenso wie der unnachgiebige Vater Valentines, Saint-Bris, der von Derek Welton mit kernigem Bassbariton gestaltet wurde.«
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Derek Welton delivered powerfully the intransigence of Saint-Bris.’
»Machtvoll verkündete Derek Welton die Unnachgiebigkeit des Saint-Bris.«
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Derek Welton as the Count of Saint-Bris and Irene Roberts as Urbain were both remarkable.’
« Derek Welton dans le Comte de Saint-Bris et Irene Roberts dans Urbain sont tous les deux remarquables. »
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Derek Welton did well as the Count of Saint-Bris, with an appropriate and well-produced voice.’
‘Derek Welton lo hizo bien como Conde de Saint-Bris, con voz adecuada y bien emitida.’
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Derek Welton, as a youthful Klingsor, was in full command of the role from the first utterance, his bass-baritone flexible, clear and elegant.’
Wagner Parsifal, Deutsche Oper Berlin, 16 October 2016
‘As Klingsor, Welton manages an energetic, very vocally present portrait, completely without snarling demonic exaggeration.’
»Als Klingsor … gelingt Welton ein energisches, vokal sehr präsentes Porträt ganz ohne bleckend dämonische überzeichnung.«
Wagner Parsifal, Deutsche Oper Berlin, 16 October 2016
‘The role of Klingsor had with Derek Welton a committed interpretation and a fine dynamic’.
« Le rôle [de Klingsor] trouve avec Derek Welton une interprétation engagée et une belle dynamique ».
Wagner Parsifal, Deutsche Oper Berlin, 16 October 2016
‘We would mention the excellent Klingsor of Derek Welton’.
« On signalera l’excellent Klingsor de Derek Welton ».
Wagner Parsifal, Deutsche Oper Berlin, 16 October 2016
‘The Australian baritone Derek Welton made a good impression in the role of Klingsor. His voice has breadth and quality and he is a fine performer’
‘Buena impresión la dejada por el bajo barítono australiano Derek Welton en la parte de Klingsor. La voz tiene amplitud y calidad y es un buen intérprete.’
Wagner Parsifal, Deutsche Oper Berlin, 16 October 2016
‘Derek Welton was a handsome and handsome-voiced Altair.’
Hugh Canning, Opera, September 2016
Strauss Die ägyptische Helena, Deutsche Oper Berlin, April 2016
‘Derek Welton, as a powerful and well-toned Herald, presented a highly promising calling card.’
»Derek Welton als kräftiger und wohltönender Heerrufer … [gab] eine vielversprechende Visitenkarte ab.«
Söhnke Martens, Opernglas, July 2016
Wagner Lohengrin, Semperoper Dresden, 19 May 2016
‘Dresden-based Georg Zeppenfeld sang a darkly-colored, elegant and clearly articulated König Heinrich, while the young Australian bass Derek Welton, based at the Deutsche Oper Berlin, resoundingly declaimed crystal-clear German as his Heerrufer. Both are singers destined for greater things.’
Wagner Lohengrin, Semperoper Dresden, May 2016
‘As the Herald, Derek Welton impressed with a youthfully heroic baritone which would be completely equal to greater roles.’
»Als Heerrufer punktete Derek Welton mit jugendlichem heroischen Bariton, der durchaus größeren Rollen gewachsen wäre.«
Wagner Lohengrin, Semperoper Dresden, 29 May 2016
‘The Herald of Derek Welton was exceptional, with a well-placed and clear voice’.
‘L’araldo di Derek Welton era eccelso, con voce ben impostata e chiara’.
Wagner Lohengrin, Semperoper Dresden, 25 May 2016
‘Rounding out the low voices was … the forceful herald of Derek Welton, a young Australian baritone who recently sang an excellent Prus in the Deutsche Oper Berlin’s new Makropulos Case.’
Wagner Lohengrin, Semperoper Dresden, 25 May 2016
‘Derek Welton is convincing as the Herald with a flattering Heldenbariton, securely placed tones and striking declamations.’
»Derek Welton überzeugt als Heerrufer mit schmeichelndem Heldenbariton, sicher gesetzten Tönen und markanten Ansagen.«
Wagner Lohengrin, Semperoper Dresden, 25 May 2016
‘Derek Welton completes the soloists as the Herald and impresses with high clarity of text and beautiful tone.’
»Derek Welton ergänzt das Solistenensemble als Heerrufer und beeindruckt mit hoher Textverständlichkeit und schönem Timbre.«
Wagner Lohengrin, Semperoper Dresden, 25 May 2016
‘The cast is of a very high level, one could even say exceptional: Derek Welton ist a Herald with a clear voice, well placed and above all well projected, with careful attention to the text: this is a baritone to follow.’
« La distribution est d’un très haut niveau, on peut même dire exceptionnelle, Derek Welton est un héraut à la voix claire, bien posée et surtout bien projetée, avec un soin marqué pour le texte … voilà un baryton à suivre. »
Wagner Lohengrin, Semperoper Dresden, 22 May 2016
‘Georg Zeppenfeld as an imposing King Heinrich and Derek Welton as a striking Herald were in no way inferior to these four great singing actors’.
»Während diesen vier großartigen Sängerdarstellern auch Georg Zeppenfeld als imposanter König Heinrich und Derek Welton als markanter Heerrufer in nichts nachstanden.«
Wagner Lohengrin, Semperoper Dresden, 22 May 2016
‘Portrayed by Derek Welton, the Herald is present vocally and scenically throughout the three acts; the intelligently declaimed text was accompanied by a voice as much at ease at the top as in the middle.’
»Tenu par Derek Welton, le Hérault relie présence scénique et vocale durant trois actes, le texte intelligemment déclamé étant accompagné par une voix à l’aise dans l’aigu comme le médium.«
Wagner Lohengrin, Semperoper Dresden, 22 May 2016
‘The excellent performance of the entire ensemble was ensured also by the smaller roles: the Australian bass-baritone Derek Welton as a vocally imposing Herald of the King’.
»Für die großartige Leistung des gesamten Ensembles sorgten auch die Darsteller der kleineren Rollen: Der australische Bassbariton Derek Welton als stimmlich imposanter Heerrufer des Königs« .
Wagner Lohengrin, Semperoper Dresden, 22 May 2016
‘Derek Welton sang a beautiful-sounding Herald bringing a virtually heroic quality to the role, equal to the rest of the star cast.’
»Derek Welton sang einen klangschönen Heerrufer mit einem für die Rolle nahezu heldischem Format, ebenbürtig mit der übrigen Starbesetzung.«
Wagner Lohengrin, Semperoper Dresden, 19 May 2016
‘The Herald Derek Welton impressed’.
»Der Heerrufer Derek Welton punktet« .
Wagner Lohengrin, Semperoper Dresden, 19 May 2016
‘Derek Welton was the Herald in Christine Mielitz’s production just as Richard Wagner would have conceived him … with his well-produced bass-baritone.’
»Derek Welton durfte in Christine Mielitz’ Inszenierung der Heerrufer sein, so wie Richard Wagner ihn erdacht hatte … mit seinem gut geführten Bassbariton.«
Wagner Lohengrin, Semperoper Dresden, 19 May 2016
‘Overall, yesterday was a feast of voices with Georg Zeppenfeld as King Heinrich, Evelyn Herlitzius as Ortrud, Tomasz Konieczny as Telramund and Derek Welton as Herald. The performance was classily cast right up to the smaller roles.’
»Insgesamt war es gestern ein Fest der Stimmen mit Georg Zeppenfeld als König Heinrich, Evelyn Herlitzius als Ortrud, Tomascz Konieczny als Telramund und Derek Welton als Heerrufer. Die Vorstellung war edel besetzt bis in die kleineren Partien hinein.«
Wagner Lohengrin, Semperoper Dresden, 19 May 2016
‘A promising Herald was sung by the Australian Derek Welton.’
‘Un prometedor Heraldo del australiano Derek Welton.’
Jordi Maddaleno, La Vanguardia, 20 May 2016
Wagner Lohengrin, Semperoper Dresden, 19 May 2016
‘Derek Welton was a lugubrious Prus’.
Carlos Maria Solare, Opera, June 2016
Janáček Věc Makropulos, Deutsche Oper Berlin, 2016
‘Laura Aikin as Aithra and the still youthful seeming Derek Welton as Altair were able to contribute musical mastery in their roles.’
»Laura Aikin als Aithra und der noch recht jung wirkende Derek Welton als Altair [konnten] musikalische Souveränität in ihren Partien beisteuern« .
M Lehnert, Opernglas, May 2016
Strauss Die ägyptische Helena, Deutsche Oper Berlin, 1 April 2016
‘However, I liked most of all the arias of the bass - Derek Welton who, in an extremely low, majestic voice superbly interpreted the text of the oratorio.’
‘Jednakże najbardziej podobały mi się arie basu - Dereka Weltona, który niezwykle niskim, majestatycznym głosem znakomicie interpretował tekst oratorium.’
Handel Messiah, Narodowe Forum Muzyki, 10 April 2016
‘Derek Welton portrays a very present Altair, both theatrically and vocally.’
« Derek Welton caractérise un Altaïr bien présent tant scéniquement que vocalement. »
Strauss Die ägyptische Helena, Deutsche Oper Berlin, 8 April 2016
‘Derek Welton’s Altair was an intelligent, forthright portrayal.’
Strauss Die ägyptische Helena, Deutsche Oper Berlin, 8 April 2016
‘Derek Welton sang Altair in a focused and rounded baritone that carried well.’
Strauss Die ägyptische Helena, Deutsche Oper Berlin, 8 April 2016
‘Altair was song with flowing, beautiful-toned Kavalierbariton by the Australian Derek Welton’.
»Altair [sang] mit strömendem, klangschönem Kavalier-Bariton, der Australier Derek Welton« .
Strauss Die ägyptische Helena, Deutsche Oper Berlin, 1 April 2016
‘Derek Welton was a passionately potent, big-voiced Jaroslav Prus and thus also vocally a real opponent of Marty’.
»Derek Welton [war] leidenschaftlich potenter, großstimmiger Jaroslav Prus und somit auch stimmlich ein echter Gegenspieler der Marty« .
Thomas Rauchenwald, Opernglas, April 2016
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘Derek Welton had just as clarion a sound, yet he could still keep an aria like ‘Mache dich, mein Herze, rein’ light and dancing.’
‘Derek Welton had al net zo’n klaroengeluid waarmee hij een aria als ‘Mache dich, mein Herze, rein’ toch licht en dansant kon houden.’
Peter van der Lint, Trouw, 25 March 2016
Bach Matthäus-Passion, Rotterdams Philharmonisch, 23 March 2016
‘Derek Welton sang the role of Altair very enthusiastically with a strong and dark voice.’
Daniel Url, Operatic Musicologist, 21 March 2016
Straus Die ägyptische Helena, Deutsche Oper Berlin, 19 March 2016
‘Jaroslav Prus is played clearly and vocally strongly by Derek Welton. He gives the ice-cold businessman a room-filling sound, which is in no way covered by Herlitzius’s vocal fullness.’
»Jaroslav Prus wird fasslich und stimmfest von Bassbariton Derek Welton gegeben. Er verleiht dem eiskalten Geschäftsmann einen raumfüllenden Klang, der sich vor Herlitzius’ stimmlicher Fülle nicht verstecken muss.«
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘Derek Welton was as intelligent a Baron Prus as he was ruthless, who deftly unmasks Emilia Marty, without in fact benefitting from it as hoped.’
»Derek Welton gab einen so intelligenten wie rücksichtslosen Baron Prus, der Emilia Marty geschickt entlarvt, ohne davon freilich, wie erhofft, zu profitieren.«
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘With sonorous bass-baritone, Derek Welton plays a brutal, power-hungry Baron Jaroslav Prus, the adversary of Emilia Marty.’
»Derek Welton gibt mit volltönendem Bassbariton einen brutalen, machtgeilen Baron Jaroslav Prus, den Gegenspieler der Emilia Marty.«
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘The baritone Derek Welton was at once seductive and haughtily aristocratic as Prus.’
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘Derek Welton’s powerful bassbaritone as Baron Jaroslav Prus is a vocal match for [Evelyn Herlitzius].’
Janáček Věc Makropulos, Deutsche Oper Berlin, 28 February 2016
‘Derek Welton is a darkly authoritative Baron Prus’.
»Derek Welton ist ein düster-autoritärer Baron Prus« .
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘Powerful: Derek Welton.’
»Kraftvoll: Derek Welton.«
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘As Baron Jaroslav Prus, Derek Welton is [Emilia Marty’s] vocally powerful antagonist’.
»Derek Welton ist als Baron Jaroslav Prus ihr stimmmächtiger Gegenspieler.«
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘With an imposing, sonorous baritone, Derek Welton was a formidable Baron Prus’.
»Mit markantem, sonorem Bariton war Derek Welton ein eindrucksvoller Baron Prus« .
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘We are more easily inclined to … the deeper voices: … above all the very present Baron Jaroslav Prus of Derek Welton, vocally clear and well-coloured.’
« On se tourne donc plus facilement … vers les voix plus graves: … surtout le Baron Jaroslav Prus très présent de Derek Welton, vocalement clair et coloré. »
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘Derek Welton possesses all the nobility and timbre to play the Baron Jaroslav Prus’.
« Derek Welton possède toute la noblesse et le timbre pour incarner le baron Jaroslav Prus ».
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘Derek Welton [sang] Baron Prus with sonorously dark baritone’.
»;Derek Welton Derek Welton [sang] Baron Prus mit klangvoll dunklem Bariton« .
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘With imposing baritone and well-characterised acting, Derek Welton gave the interesting character of the Forester its appropriate profile.’
»Derek Welton gab mit markantem Bariton und differenzierender Darstellung der interessanten Figur des Försters das angemessene Profil.«
Janáček Pŕíhody lišky Bystroušky, Deutsche Oper Berlin, 27 December 2015
‘We appreciate the authoritarian Sergeant of Derek Welton’.
« On apprécie le Sergent autoritaire de Derek Welton ».
Puccini Manon Lescaut, Deutsche Oper Berlin, 5 and 14 November 2015
‘The baritone Derek Welton was the outstanding soloist’.
Bruckner Mass in F minor, BBC Prom 20, 1 August 2015
‘A prestigious quartet of soloists - Luba Orgonášová, Jennifer Johnston, Robert Dean Smith and Derek Welton - had been assembled’.
Bruckner Mass in F minor, BBC Prom 20, 1 August 2015
‘The eloquence of Derek Welton could not be doubted’.
Bruckner Mass in F minor, BBC Prom 20, 1 August 2015
‘Tómas Tómasson and Derek Welton, as Dino and his friend Regolo, give their baritonal lines an earthly physicality.’
Furrer La bianca notte, Staatsoper Hamburg, 10-31 May 2015
‘With constant rhythmic precision, the Icelandic baritone Tómas Tómasson mastered the difficult part of Dino; his equally dark-timbred male counterparts, Derek Welton as Regolo and Tigran Martirossian as Il Russo, were in all respects equal.’
»Rhythmisch stets sicher meisterte der isländische Bariton Tómas Tómasson die schwierige Partie des Dino; seine gleichfalls dunkel timbrierten männlichen Gegenüber, Derek Welton als Regolo und Tigran Martirossian als Il Russo, standen ihm um nichts nach.«
Frankfurter Allgemeine Zeitung, 12 May 2015
Furrer La bianca notte, Staatsoper Hamburg, 10-31 May 2015
‘Tómas Tómasson as Dino, Derek Welton as Regolo and Tigran Martirossian as The Russian give impressive interpretations.’
»Gelingen Tómas Tómasson als Dino, Derek Welton als Regolo und Tigran Martirossian als Il Russo beeindruckende Interpretationen.«
Furrer La bianca notte, Staatsoper Hamburg, 10-31 May 2015
‘I’ve previously admired bass Derek Welton in Bach and he brought a Passion-like mood to his narrations here. He also has a core of magnificent rounded bass sound to bestow on his contribution to “Go down, Moses”.’
Tippett A Child of our Time, Auckland Philharmonia Orchestra, 21 March 2015
‘Bass-baritone Derek Welton had the opening entry, which was most convincing and commanding. The performance as a quartet was also highly commendable’.
Beethoven Symphony No 9, Singapore Symphony Orchestra, 12 March 2015
‘Baritone Derek Welton demonstrated his mighty vocal depth.’
Haydn Nelson Mass, Britten Sinfonia, 28 February 2015
‘Bass-baritone Derek Welton’s hefty, dark voice added a wallop to God’s words.’
‘Welton’s voice boomed into the capacious Sugar Land Baptist Church in “Why do the nations so furiously rage together”, and … grew fuller and more commanding the higher it rose in “The trumpet shall sound”’
Handel Messiah, Houston Symphony, 18 December 2014
‘Bass-baritone Derek Welton’s strongest asset was his power, as he belted piercing low notes to the back of the balcony but also evoked an appropriately solemn sound on “For behold, darkness shall cover the earth.”’
Handel Messiah, Minnesota Orchestra, 12 December 2014
‘The trio of Counts was outstandingly well cast: Benjamin Bruns (Elemer), Derek Welton (Dominik, and a future Mandryka perhaps?) and Steven Humes (Lamoral). Who could ask for more?’
Hugh Canning, Opera, February 2015
Strauss Arabella, Semperoper Dresden, 7-10 November 2014
‘Derek Welton has a fine voice and excellent technique, and his contribution was notable’
Verdi Requiem, Guildhall Symphony Orchestra, 26 September 2014
‘Coping gamely with the coloratura in the aforementioned “Eilt, ihr angefochtnen Seelen” and singing with expressive, oaken tone in “Betrachte, meine Seel’”, Australian bass Derek Welton was right inside the drama in his scenes with Jesus.’
Bach St John Passion, Auckland Philharmonia, 14 August 2014
‘Tenor Nicholas Mulroy who sang the role of the Evangelist and bass Derek Welton in the role of Pilate gave the work a real sense of theatre. The emotional qualities of the music were enhanced with the dramatic singing of these two singers, who gave the work an urgency and drama.’
Bach St John Passion, Auckland Philharmonia, 14 August 2014
‘In the first bass aria, the rich hues of Derek Welton’s voice were matched by a striking combination of lower instruments, and bassoons and oboes adorned the gently rolling measures of “Et in Spiritum Sanctum”.’
Bach Mass in B minor, Melbourne Symphony Orchestra, 7-9 August 2014
‘Jane Henschel and Derek Welton created favourable impressions as a strongly characterised Marthe and a very striking, vocally powerful Wagner’
Ralf Tiedemann, Das Opernglas, July-August 2014
Gounod Faust, Festspielhaus Baden-Baden, 6-15 June 2014
‘These protagonists were joined by comprimari of a similarly high level … Derek Welton, who as Wagner in the second Act attracted notice with his ever-present bass-baritone.’
»Zu diesen Protagonisten gesellten sich ebenfalls hohes Niveau repräsentierende Comprimari … Derek Welton, der als Wagner im 2. Akt mit allzeit präsentem Bass-Bariton Aufmerksamkeit erweckt.«
Gounod Faust, Festspielhaus Baden-Baden, 6-15 June 2014
‘The three admirers of Arabella sing without blemish.’
»Die drei Verehrer der Arabella … singen ohne Makel.«
Helmut Christian Mayer,
Opernnetz, April 2014
Strauss Arabella, Osterfestspiele Salzburg, 12-21 April 2014
‘The three Counts Elemer (Benjamin Bruns), Dominik (Derek Welton) and Lamoral (Steven Humes) sounded as effortless as the Matteo of Daniel Behle’.
»Die drei Grafen Elemer (Benjamin Bruns), Dominik (Derek Welton) und Lamoral (Steven Humes) klangen kaum weniger bemüht als der Matteo von Daniel Behle« .
Strauss Arabella, Osterfestspiele Salzburg, 12-21 April 2014
‘We take notice of the Harašta of Derek Welton, who has no monologue, but who shines just as much by the beauty of his generous instrument with its warm timbre.’
« Remarquons le Harašta de Derek Welton, qui n’a pas de monologue, mais qui brille tout autant par la beauté de son instrument généreux au timbre chaleureux. »
Janáček The cunning little vixen, Opéra de Lille, 28 January - 7 February 2014
‘The strong Derek Welton convinces equally underneath the cap of a poacher of the people’
« Le solide Derek Welton convainc tout autant sous la coiffe d’un Harašta issu du peuple ».
Janáček The cunning little vixen, Opéra de Lille, 28 January - 7 February 2014
‘Among the soloists the baritone Derek Welton, born in 1982 in Melbourne, 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.’
»Unter den Solisten gebührte die Krone des Abends dem 1982 in Melbourne geborene Bariton Derek Welton als galanter schwarzer Magier Voland … Er meisterte seinen Part als Teufel mit kräftig-schöner Stimme und differenziertem Spiel.«
Söhnke Martens, Opernglas, Oktober 2013
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘Bassbaritonally virile, weighty and powerfully eloquent: Derek Welton.’
»Bassbaritonal viril, wuchtig und wortgewaltig: Derek Welton.«
Opernwelt, November 2013
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘In contrast, 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.’
»Demgegenüber leuchtete Derek Welton als Teufel (in der Gestalt des geheimnisvollen Voland) mit souveräner Leichtigkeit, dämonischem Spiel und stimmlicher Baritonfülle: ganz der sympathische, verführerische Mephisto.«
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘Outstanding … Derek Welton as Voland, a magically Mephistophelian schemer with a darkly grounded bass’.
»Herausragend … Derek Welton als Voland, ein magisch-mephistophelischer Intrigant mit dunkel grundiertem Bass.« .
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘As Voland, Derek Welton made his successful début at the Hamburg State Opera and had the audience on his side right from the beginning. He was a decidedly cool and casual devil, to whom, despite a certain demonic nature, all sympathies fell, and who could completely convince vocally, with his splendid voluminous and well-supported Heldenbariton.’
…Mit dem Voland gab Derek Welton sein gelungenes Debüt an der Hamburger Staatsoper und hatte das Auditorium von Anfang an auf seiner Seite. Er gab einen betont coolen und lässigen Teufel, dem trotz einer gewissen Dämonie alle Sympathien zuflogen und der mit seinem prächtigen voluminösen und bestens gestützten Heldenbariton auch stimmlich voll überzeugen konnte.«
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘As with Goethe’s, this Mephisto is a man of intelligence and wit; bass-baritone Derek Welton sings him with melliflous power and elegance, as fits the lightning-white suit.’
»Wie schon bei Goethe … ist dieser Mephisto ein Mann von Geist und Witz; Bass-Bariton Derek Welton singt ihn einschmeichelnd-mächtig und elegant, wie es zum blitzweißen Anzug passt.« .
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘The puppet-master is the devil himself, who in Derek Welton was found to be not only a vocally secure bass-baritone, but also a charismatic seducer.’
»Strippenzieher ist der Teufel höchstpersönlich, der in Derek Welton nicht nur einen stimmsicheren Bass-Bariton gefunden hat, sondern auch einen charismatischen Verführer.«
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘The plot surrounds the Devil (Voland), sung with bags of charm and charisma by Derek Welton, smartly dressed in a tight-fitting white suit.’
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘The whole ensemble acted convincingly vocally, theatrically and also in dance. Above all Derek Welton (Voland) and Dietrich Henschel (author) as well as Cristina Damian (Margarita).’
»Das gesamte Ensemble agierte gesanglich, schauspielerisch wie auch tänzerisch überzeugend. Allen voran Derek Welton (Voland) und Dietrich Henschel (Autor) sowie Cristina Damian (Margarita).«
Michael Pilz-Grewenig, klassik.com, 1 October 2013
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘Voland, played by the young bass-baritone Derek Welton as a charming, yet theatrically somewhat lightweight devil, appears as a not completely unsympathetic rebel against the completely bureaucratic society.’
»Voland, beim jungen Bassbariton Derek Welton ein charmanter, aber darstellerisch noch etwas leichtgewichtiger Teufel, erscheint als durchaus nicht unsympathischer Rebell gegen die durchbürokratisierte Gesellschaft. Schafft er schon bei Bulgakow gelegentlich das Gute, wenn er das Böse will, wird er in Höllers leicht kitschigem Schluss schon fast zum lebensnäheren Gegengott.«
Michael Stallknecht, Süddeutsche Zeitung, 25 September 2013
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘We were able to marvel at the excellent Derek Welton’s bass-baritone, with which he lends his devil a not at all unlikeable charisma.’
»Durften wir bisher schon den hervorragenden Bass-Bariton Derek Weltons bestaunen, mit dem er seinem Teufel ein gar nicht unsympathisches Charisma verleiht« .
Sören Ingwersen,
Godot, 20 September 2013
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘With the confident nonchalance of an entertainer, Derek Welton is the charismatic and superior-acting devilish Voland in white suit.’
»Mit souveräner Entertainerlässigkeit ist … Derek Welton der charismatische und überlegen auftretende mefistophelische Voland im weißen Anzug.«
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘The Australian Derek Welton as magician/devil was a class Satan.’
»Der Australier Derek Welton als Magier/Teufel war ein Klasse-Satan« .
Harald Gillen, Stader Tageblatt, 16 September 2013
York Höller Der Meister und Margarita, Hamburg State Opera, 14 September - 4 October 2013
‘Derek Welton’s Wagnerian voice was used to intimidating effect as the Second Elder.’
Handel Susanna, Spitalfields Music Festival, 12 June 2013
‘Derek Welton as Chelsias adopted an almost admonitory tone as though urging the Israelites to follow their example. Welton also took the part of the Second Elder without detriment to the work’s dramatic coherence. As a stern Elder whose lies against Susanna might well be believed, his powerful bass voice struck a contrast to the ingratiating, oleaginous manner of Thomas Walker, singing the tenor part of the First Elder.’
Handel Susanna, Spitalfields Music Festival, 12 June 2013
‘Derek Welton’s weightily sonorous bass gave his character, Second Elder (and, briefly, Susanna’s father Chelsias), an unnerving force’
Handel Susanna, Spitalfields Music Festival, 12 June 2013
‘Welton, singing [Le bestiaire] from memory, brought just the right tone to the work, singing with characterful intensity and great charm.’
‘The vocal movements [of Le bal masqué] were a total tour de force from Welton, whose acting and singing (from memory) were vividly engaging.’
‘The programme of Poulenc’s music [was] brilliantly performed by Derek Welton, Antoine Françoise and the City of London Sinfonia under Stephen Layton.’
Poulenc and Paris, City of London Sinfonia CLoSer concert, 10 April 2013
‘Vocally faultless were the two Grail Knights Thomas Ebenstein and Derek Welton, dressed as polar explorers.’
»Stimmlich einwandfrei waren die beiden Gralsritter Thomas Ebenstein und Derek Welton, bekleidet wie Polarforscher« .
Wagner Parsifal, Osterfestspiele Salzburg, March-April 2013
‘Derek Welton [was] outstanding as Raphael and more than equal to the huge demands placed on his range’
Robin Greatorex, 13 February 2013
Haydn Die Schöpfung, London Handel Orchestra, 26 January 2013
‘As Figaro, meanwhile, Derek Welton showed he is the possessor of a major voicea bass-baritone of easy power and robust, pleasing timbre’
Hugo Shirley, Opera, January 2013
Mozart Le nozze di Figaro, Glyndebourne on Tour, October-December 2012
‘Derek Welton’s physically imposing, vocally booming Uncle Bonze, delivering his curse with terrifying menace, clearly has major star potential.’
Hugh Canning, Sunday Times, 10 June 2012
Puccini Madama Butterfly, Grange Park Opera, May-June 2012
‘Derek Welton’s tremendous Bonze stood out. This young Australian has star potential, and you have to wonder why the Royal Opera cast such a feeble Italian as Monterone in their recent Rigoletto with a young singer like this around (he has already made a big impression at the Guildhall School and with British Youth Opera, which aren’t exactly a million miles from Covent Garden).’
Hugh Canning, Opera, August 2012
Puccini Madama Butterfly, Grange Park Opera, May-June 2012
‘The fine Derek Welton is the sententious Pangloss’.
‘Il bravo Derek Welton è il sentenzioso Pangloss’.
Alfredo Gasponi, Il Messaggero, 19 January 2012
Bernstein Candide, Teatro dell’Opera di Roma, January 2012
‘Commendable the Pangloss of Derek Welton and the Old Lady of Jane Henschel’.
‘Bravi … il Pangloss di Derek Welton, la vecchia lady di Jane Henschel’.
Bernstein Candide, Teatro dell’Opera di Roma, January 2012
‘Very confident and very humorous was Derek Welton’s performance of not only the role of the philosopher Pangloss (a caricature of Leibniz), but also Martin (his pessimistic opposite) and the valet Cacambo.’
‘Molto sicura e molto ironica l’interpretazione di Derek Welton impegnato non solo nel ruolo del filosofo Pangloss (caricatura di Leibniz), di Martin (il suo opposto pessimista) e del servo Cacambo’.
Bernstein Candide, Teatro dell’Opera di Roma, January 2012
‘The voices of the performers were all very good, however we had a preference for the baritone Derek Welton (Pangloss)’.
‘Le voci degli interpreti sono tutte molto valide, però abbiamo avuto una preferenza per il baritono Derek Welton (Pangloss)’.
Bernstein Candide, Teatro dell’Opera di Roma, January 2012
‘Highly commended also the Old Lady of Jane Henschel, and the Pangloss - eccentric philosopher and apostle of optimism at all costs - of Derek Welton’
‘Da promuovere anche la ‘vecchia signora’ di Jane Henschel, e il Pangloss - strampalato filosofo, apostolo dell’ottimismo a tutti i costi - di Derek Welton.’
Bernstein Candide, Teatro dell’Opera di Roma, January 2012
‘Quite different metal in Derek Welton, who is assigned the roles of Pangloss, Martin and Cacambo: confident acting and more than ample volume’.
‘Ben altro metallo in Derek Welton, a cui sono affidati i ruoli di Pangloss, Martin e Cacambo, recitazione sicura e volume più che ampio.’
Bernstein Candide, Teatro dell’Opera di Roma, January 2012
‘Well done also the Australian baritone D Welton (Pangloss-Martin-Cacambo): alternating his sonority according to the vocal writing.’
‘Bene anche il baritono australiano D Welton (Pangloss-Martin-Cacambo), anche lui dalla sonorità alterna a seconda della scrittura vocale’.
Bernstein Candide, Teatro dell’Opera di Roma, January 2012
‘This excellent CD assembles 20 of Vaughan Williams’s own carol arrangements, with six folk songs thrown in for good measure. The soloist is the young Australian Derek Welton, whose manly, oaken baritone is sensitively offset by Iain Burnside’s superbly supportive accompaniments. The twelve apostles and The truth sent from above are particular highlights of this disc, but every track has something to offer. Highly recommended’
Performance ★★★★★
Recording ★★★★★
On Christmas Day, Folk-carols and folk-songs arranged by Ralph Vaughan Williams (Albion CD ALBCD013)
‘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, December 2011
On Christmas Day, Folk-carols and folk-songs arranged by Ralph Vaughan Williams (Albion CD ALBCD013)
‘First up a new disc from the young Australian baritone Derek Welton of Vaughan Williams carol settings. The composer had a lifelong fascination with carols and spent much of his life transcribing and preserving them in the same way he did with folk songs in order to stop the oral traditions from becoming extinct. This disc contains twenty of Vaughan Williams’ own carol arrangements, with six folk songs also included. Derek Welton has a rich yet flexible voice. It sounds effortless and I could listen to him all day. He is sensitively accompanied by Iain Burnside, and the recording is vibrant and well balanced.’
Presto Classical, 5 December 2011
On Christmas Day, Folk-carols and folk-songs arranged by Ralph Vaughan Williams (Albion CD ALBCD013)
‘Welton’s diction is so clear that I found it unnecessary to refer to the words … It is refreshing to hear a singer who does not strain and these songs are a showcase for the enormous range of vocal colour and the faultless sense of rhythm at his disposal. He is not afraid to act with his voice and his ability to express humour, intimacy and nobility with feeling that is genuine, marks him in my mind, as an interpreter of art song who deserves encouragement and further opportunities to perform and record in this genre.’
Wendy Hiscocks,
British Music Society News, December 2011. Reprinted with permission.
On Christmas Day, Folk-carols and folk-songs arranged by Ralph Vaughan Williams (Albion CD ALBCD013)
‘Attractively performed by the Australian baritone Derek Welton and the pianist Iain Burnside, the programme makes for an evocative vista of bygone Christmas times.’
Geoffrey Norris, The Daily Telegraph, 9 December 2011
On Christmas Day, Folk-carols and folk-songs arranged by Ralph Vaughan Williams (Albion CD ALBCD013)
‘Welton’s crisp, masculine baritone and crystal clear diction give us a beatiful set of songs full of ancient poetry and elegance.’
‘Weltons sprøde macho-baryton og krystalklare diktion giver os en skøn stak sange fulde af ældgammel poesi og elegance.’
On Christmas Day, Folk-carols and folk-songs arranged by Ralph Vaughan Williams (Albion CD ALBCD013)
‘With his mellow baritone and graceful phrasing, Welton makes Creonte more sympathetic than the dark-toned Ildebrando d’Arcangelo for Hogwood, though he musters a fine, ringing sonority for his ‘vengeance’ aria that closes Act 2.’
Haydn L’anima del filosofo, Pinchgut Opera (Pinchgut Live PG001)
‘Antony Walker and the excellent Orchestra of the Antipodes give the best reading of the score since Doráti … Derek Welton offers fine support as her father, Creonte; his vengeance aria is particularly effective.’
Haydn L’anima del filosofo, Pinchgut Opera (Pinchgut Live PG001)
‘There were also memorable performances from Wolfgang Schmidt as
Aegisth, Derek Welton as Orest’s tutor’
Luigi Bellingardi, Opera, March 2012
Strauss Elektra, Teatro dell’Opera di Roma, September-October 2011
‘Intense is the Orestes of Alejandro Marco-Buhrmester, accompanied by the strong preceptor of Derek Welton’
‘Intenso l’Oreste di Alejandro Marco-Buhrmester, affiancato dal valido Precettore Derek Welton’
Francesco Rapaccioni, Teatro.org, 30 September 2011
Strauss Elektra, Teatro dell’Opera di Roma, September-October 2011
The nine singers who performed … appeared to be aiming high. The four that stood out … [included] the Australian Derek Welton who produced a thrilling account of the Flying Dutchman’s ‘Die Frist ist um’.’
Robert Turnbull, Opera Now, November 2011
Salzburg Festival Young Singers’ Project Soirée, 17 August 2011
‘Derek Welton … capably delivered a performance of bipolar themes and the emotional complexity required of each, and this was enhanced by his rich tones and bold expressive delivery.’
Finzi Friends Newsletter, Volume 29, Number 1, April 2012
Finzi Friends recital, St James’ Church, Ashmansworth, Hampshire, 2 July 2011
‘Giselle Allen’s fearful Freia, Derek Welton’s forceful Donner, a stunning Fasolt … and three characterful Rhinemaidens … are revelations’
Richard Morrison, The Times, 21 June 2011
Wagner Das Rheingold, Opera North, June-September 2011
‘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.’
Geoffrey Mogridge, Opera Britannia, 23 June 2011
Wagner Das Rheingold, Opera North, June-September 2011
‘A cast of uniformly high quality sings from memory … Derek Welton’s impetuous Donner’
Martin Dreyer, Opera, August 2011
Wagner Das Rheingold, Opera North, June-September 2011
‘Derek Welton’s Donner was immensely exciting. Both [he and Wedd] have enormous potential’
Wagner News, January 2012
Wagner Das Rheingold, Opera North, June-September 2011
‘Welton and Wedd were … luxury casting … Welton’s resonant bass will hopefully one day see him as a Wotan’
Wagner Das Rheingold, Opera North, June-September 2011
‘Derek Welton, in appearance a shaven-headed enforcer, rolled out his Heda, Hedo thunderclaps with relish’
Robert Beale, Musical Opinion, October 2011
Wagner Das Rheingold, Opera North, June-September 2011
’The minor gods Donner and Froh were not so minor after all when sung and projected as they were by Derek Welton and Peter Wedd’
Paul Dawson-Bowling, Wagner News, October 2011
Wagner Das Rheingold, Opera North, June-September 2011
‘Best were … an urgent and vocally compelling Evangelist, and Derek Welton, whose Jesus had a great booming baritone, relaxed phrasing … His final aria, Mache dich, was a thing of real beauty.’
Bach Matthäus-Passion, Dunedin Consort, 14 and 15 April 2011
‘In such an atmosphere it seems invidious to single out any for special mention, but Derek Welton’s Christ was particularly outstanding, as was his singing of the two final bass arias in Part Two: time stood still for Komm, süßes Kreuz.’
Bach Matthäus-Passion, Dunedin Consort, 14 and 15 April 2011
‘I particularly enjoyed the … baritone solo, Do I love you, sung with poignant emotional power by Derek Welton’
‘We also heard the Fauré Requiem which opened the programme with some assured singing of this great favourite. The Libera me, every aspiring baritone’s ambition, was particularly good’
Peter Lloyd Williams, The Bath Chronicle, 11 April 2011
Fauré Requiem and Paul Carr Requiem for an angel, Bath Minerva Choir and Bath Philharmonia, 9 April 2011
‘In counter-tenor Iestyn Davies and baritone Derek Welton the EOC had trump cards. 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.’
Handel Messiah, Early Opera Company, 19 December 2010
‘The Early Opera Company’s Messiah … was found to be fresh-minted in Christian Curnyn’s delectable performance. [Including] the implacable force of Derek Welton’s “Thus saith the Lord” … this was a reading in which Charles Jennens’ text sprang off the page.’
Handel Messiah, Early Opera Company, 19 December 2010
‘No less remarkable was the distinguished singing of Derek Welton. I became aware of this baritone’s potential in a couple of Guildhall School opera productions, and his rich, flexible voice is something to be reckoned with - an instrument of great power and quality, with a stage presence to match. His one solo in each of the three parts were like trig-points in Handel’s plan, with an electrifying ‘Why do the nations’ and a ‘Behold, I tell you a mystery’ of positively Wotan-like weight and stillness. In short, he was sensational and I look forward to hearing him again.’
Handel Messiah, Early Opera Company, 19 December 2010
‘The undoubted high points were Derek Welton’s glorious baritone, culminating in a powerful yet seemingly effortless “The trumpet shall sound”…’
Handel Messiah, Early Opera Company, 19 December 2010
‘As Eurydice’s father Creon, smoky toned bass-baritone Derek Welton sang with alluring warmth and resounding power’
Haydn L’anima del filosofo (Orfeo ed Euridice), Pinchgut Opera, December 2010
‘The singing is smooth and beguiling … Derek Welton has solid presence and power as Creon but always within the classical expectations of tonal beauty and shape’
Haydn L’anima del filosofo (Orfeo ed Euridice), Pinchgut Opera, December 2010
‘Derek Welton as Creonte … was in some ways the most consistent singer, whose evenly produced baritone produced some ringing top notes’
Haydn L’anima del filosofo (Orfeo ed Euridice), Pinchgut Opera, December 2010
‘Derek Welton made Creonte’s changes in attitude seem natural and subtle from Sarastro-like coolness without excessive pedantry, to love’s convert in seeing his daughter with Orpheus, to vengefulness and finally resignation and grief … His bass was gentle and textured and a pleasure to listen to’
Andrew Miller, Berkshire Review, 6 December 2010
Haydn L’anima del filosofo (Orfeo ed Euridice), Pinchgut Opera, December 2010
‘Baritone Derek Welton’s voice was the perfect foil for [Orpheus and Eurydice]. He combined crisp changes of coolness with sharp anger and vengefulness and both gentleness and warmth. Sounds crazy, but true. And, it made his moments on stage truly memorable.’
Carolyn McDowall, The Culture Concept, 7 December 2010
Haydn L’anima del filosofo (Orfeo ed Euridice), Pinchgut Opera, December 2010
‘As Eurydice’s father Creonte, Derek Welton is brilliant, mostly seeming rather formal, cold, regal and imposing as befits a king, but underneath a boiling volcano of emotion could be released.’
Lynne Lancaster, Arts Hub, 8 December 2010
Haydn L’anima del filosofo (Orfeo ed Euridice), Pinchgut Opera, December 2010
‘Derek Welton [was] an impressive Bonze’
Robert Hugill, MVDaily.com
Puccini Madama Butterfly, Grange Park Opera, July 2010
‘There were several excellent cameos, including … Derek Welton [as] Farfarello’
Roger Parker, Opera, August 2010
Prokofiev L’amour des trois oranges, Grange Park Opera, June 2010
‘Leading the way was Derek Welton, a baritone of splendid stature with the precise authoritative voice and presence the role of Elijah demands. I have heard many excellent performances of this role and Welton’s comes very close to the top, filling the hall with brilliant resonance from his opening recit and culminating in the lovely arioso, For The Mountains.’
Garry Fraser, Dundee Courier, 24 March 2010
Mendelssohn Elijah, Dundee Choral Union, 21 March 2010
‘Vocal strength was … the name of the game for Derek Welton, his voice rattling the walls in The trumpet shall sound, with matching virtuosity from Gareth Small, Section Leader in the orchestra, on the trumpet. Really thrilling’
Robert Farr, Seen and Heard International
Handel Messiah, Hallé Choir and Orchestra, 5 December 2009
‘Derek Welton, the Nick, is 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.’
Stravinsky The Rake’s Progress, British Youth Opera, 5 September 2009
‘Derek Welton’s charismatic, Nosferatu-without-the-fangs Nick Shadow [showed] a young singer of exceptional presence’
Hugh Canning, Opera, November 2009
Stravinsky The Rake’s Progress, British Youth Opera, 5 September 2009
‘Derek Welton’s Nick Shadow possesses the vital command of a stage devil.’
Stravinsky The Rake’s Progress, British Youth Opera, 5 September 2009
‘Derek Welton’s Nick Shadow [was] a study of quiet, pitiless cruelty’
Anna Picard, The Independent, 19 September 2009
Stravinsky The Rake’s Progress, British Youth Opera, 5 September 2009
‘Gripping performances of Tom Rakewell and Nick Shadow from two Guildhall School graduates who projected their words and music splendidly … Derek Welton’s sinister Shadow exuded an aura of doom and was sung in resonant ebony tones.’
Margaret Davies, Musical Opinion, January-February 2010
Stravinsky The Rake’s Progress, British Youth Opera, 5 September 2009
‘With Australian Derek Welton the strength of character is in subtle temptation and manipulative suggestion rather than brute force, with a rich and persuasive tone and a suave stage presence that gave an eerie impression of complete stillness.’
Adam Highbury, Opera Talent
Stravinsky The Rake’s Progress, British Youth Opera, 5 September 2009
‘Derek Welton sang Shadow with a remarkably sinister voice and the presence to match it.’
Stuart Jenkins, Musical Pointers, 11 September 2009
Stravinsky The Rake’s Progress, British Youth Opera, 5 September 2009
‘The darker the opera gets, the more convincing becomes Derek Welton’s satanic Nick Shadow.’
Nick Kimberley, London Evening Standard, 7 September 2009
Stravinsky The Rake’s Progress, British Youth Opera, 5 September 2009
‘Tom was pretty easily blandished away by Derek Welton’s bluff Shadow, neither unctuous Jeeves nor infernal Mephisto’
Robert Thicknesse, Opera Now, January/February 2010
Stravinsky The Rake’s Progress, British Youth Opera, 5 September 2009
‘They presented Handel’s Apollo e Dafne with soloists Elizabeth Weisberg and Derek Welton giving excellent portrayals of Daphne and the appalling Apollo.’
Andrew Benson-Wilson, Early Music Review, August 2009
Handel Apollo e Dafne, International Baroque Players, 11 June 2009
‘Outstanding was Derek Welton as the oppressive father; his elastic, chocolatey baritone never faltered (except when he meant it to), and his overall performance would have impressed on the professional stage.
Andrew Mellor, The Filter, 5 June 2009
Rossini La cambiale di matrimonio, Guildhall School of Music and Drama, 3 June 2009
‘If I had been handing out prizes, one would have gone to the Australian baritone Derek Welton for some glorious Bach, and for a towering performance [of] Verdi’s Falstaff’
Kathleen Ferrier Awards Final, 24 April 2009
‘His performance of Ford’s aria E sogno? from Verdi’s Falstaff was a masterpiece of interpretation as a sequence of rapidly changing emotions were expressed with relish.’
Serena Fenwick, Musical Pointers
Kathleen Ferrier Awards Final, 24 April 2009
‘Derek Welton did sterling work as Jephtha’s brother.’
Rupert Christiansen, The Daily Telegraph, 17 April 2009
Handel Jephtha, London Handel Festival, 14 April 2009
‘Derek Welton won the 2007 Handel Singing Competition. It was good to hear him as Zebul: this is a true Handelian bass, a singer with everything needed for this music … ‘Laud her, all ye virgin train’ was commandingly sung, and he provided ideal strength in the recitatives.’
Handel Jephtha, London Handel Festival, 14 April 2009
‘Derek Welton … invested Zebul with resounding commitment and ringing tone. Handel allows him little else, and Welton is to be commended for bringing the role off so well.’
Robert Hugill, MVDaily.com, 15 April 2009
Handel Jephtha, London Handel Festival, 14 April 2009
‘Derek Welton … was equally impressive, his voice effortlessly powerful, with his final solo, the wonderful The trumpet shall sound, a real tour de force.’
Nicola Lisle, Oxford Times, 8 April 2009
Handel Messiah, Burford Singers, 5 April 2009
‘A good performance from a choir deserves equally good performances from soloists. In this work, they don’t have a lot to do but what they did was highly impressive. That is something of an understatement when describing baritone Derek Welton. His performance was a revelation from the word go, and with a commanding voice, assurance and resonance, he showed he has all the attributes needed for the concert platform.’
Garry Fraser, Dundee Courier, 17 March 2009
Brahms Ein Deutsches Requiem, Dundee Choral Union, 15 March 2009
‘It also showcased a number of fine performances, none finer than … the baritone Derek Welton’s virile-voiced, authoritative King.’
John Allison, Opera, May 2009
Sallinen The King goes forth to France, Guildhall School of Music and Drama, 4 March 2009
‘It portrays the transformation of the King (grippingly depicted by the fine Australian bass-baritone Derek Welton) from foppish idealist to boozed-up totalitarian monster.’
Richard Morrison, The Times, 6 March 2009
Sallinen The King goes forth to France, Guildhall School of Music and Drama, 4 March 2009
‘Derek Welton’s King sings with immense authority while morphing from infantile monarch to loud-mouthed sadist.’
Sallinen The King goes forth to France, Guildhall School of Music and Drama, 4 March 2009
‘The student performers, led by Derek Welton’s unhinged king and Jonathan Sells’s conniving prime minister, are finely focused.’
Sallinen The King goes forth to France, Guildhall School of Music and Drama, 4 March 2009
‘Derek Welton’s arrogant, irrational, polymorphously perverse Prince/King [is] delivered with charisma and intelligence.’
Sallinen The King goes forth to France, Guildhall School of Music and Drama, 4 March 2009
‘Derek Welton brought a focussed presence to the title role, which he sang in an incisive baritone.’
Margaret Davies, Musical Opinion, May-June 2009
Sallinen The King goes forth to France, Guildhall School of Music and Drama, 4 March 2009
‘Derek Welton’s rich lyric baritone was heard to fine effect in the role of the Prince/King and he also characterised the character’s growing development as a person well. He has strong stage presence, too.’
Sallinen The King goes forth to France, Guildhall School of Music and Drama, 4 March 2009
‘In my review of the Bach Choir’s Messiah earlier this year I singled out the baritone Derek Welton for particular praise. At last Saturday’s concert Welton was again the star … Welton’s wonderfully controlled and expressive singing, clear enunciation and confident stage presence confirmed that he is a young artist with a great future. Five Mystical Songs is a glorious piece with the folk-song inspired melodies perfectly matching the naïve faith of George Herbert’s poetry. Welton’s voice seemed made for this music. He was equally authoritative in Sancta Civitas.’
Simon Collings, Oxford Times, 10 December 2008
Vaughan Williams Sancta Civitas and Five Mystical Songs, Oxford Bach Choir, 6 December 2008
‘There was also some very accomplished singing. I was particularly impressed by Derek Welton in the title role, varying the colouring of his full toned baritone to suit the mood’
Serena Fenwick, Musical Pointers
Mozart Don Giovanni, Bloomsbury Opera, 10 October 2008
‘Derek Welton’s dynamic and charismatic Figaro underpins the whole play’
Rob Taylor, Radio Woodbridge, 23 July 2008
Mozart Le Nozze di Figaro, Opera East Productions, 20 July 2008
‘Sadly Gerontius gives little opportunity to Derek Welton singing the bass role of the priest. His singing gave authority and importance to the words and left the listener wanting to hear more.’
Graham Hewitt, Chichester Observer, 23 June 2008
Elgar The Dream of Gerontius, Chichester Singers, 21 June 2008
‘Derek Welton combines perfectly articulated diction with an imposing presence.’
Serena Fenwick, Musical Pointers
Handel Messiah, Solomon Choir and Orchestra, 27 March 2008
‘The sumptuous-voiced Derek Welton … was a fine Christus.’
Fiona Maddocks, Evening Standard, 25 March 2008
Bach St Matthew Passion, London Handel Festival, 21 March 2008
‘The star of the four [soloists] though was the bass, Derek Welton. His expressive singing seemed effortless; the extraordinary voice perfectly controlled, and the effects dramatic. The final air, The Trumpet Shall Sound, was particularly splendid with fine accompaniment from the trumpet, a wonderfully uplifting expression of hope’
Simon Collings, Oxford Times, 13 March 2008
Handel Messiah, Oxford Bach Choir, 8 March 2008
‘The Australian baritone, Derek Welton, demonstrated his operatic experience in his skilful
interpretation and clear diction’
Lymington Times, 2 June 2007
Mendelssohn St Paul, Lymington Choral Society, 12 May 2007
‘Australian baritone Derek Welton has a richness and depth of tone throughout a
wide range’
David Bunkell, Beccles and Bungay Journal, 4 May 2007
Rossini Stabat Mater, Beccles Choral Society, 28 April 2007
‘Welton, aged 24 … has an imposing physical presence and a rich, imposing voice, and demonstrated a maturity beyond his years in his winning programme, which included … a very exciting performance of ‘See the raging flames arise’ from Joshua, with ‘Vouchsafe, O Lord’ from the Dettingen Te Deum revealing a more tender side to his voice.’
Clare Stevens, Early Music Today, June/July 2007
Handel Singing Competition Final, 23 April 2007
‘Last night overall victory went to the only baritone singing, Derek Welton, the possessor of a
fine, robust instrument who concentrated his fire on shorter oratorio and anthem pieces, with only one excerpt from an opera. His singing was focused and exact and technically very secure, his wider experience showing’
Sue Loder, Opera Today, 25 April 2007
Handel Singing Competition Final, 23 April 2007
‘Baritone Derek Welton gave us a very well chosen programme and also showed that it is possible to sing powerfully without vocal distractions and mannerisms. He has a very strong physical presence, clean diction and fine intonation.’
Andrew Benson-Wilson, Early Music Review, June 2007
Handel Singing Competition Final, 23 April 2007
‘The second Australian was Derek Welton, a 24-year-old baritone. How good it was to hear him steering his strong voice through ‘See the raging flames arise’ (“Joshua”) without having to sink to the use of aspirates .. One other welcome attribute was a clarity of enunciation with no hint of prissiness or distortion of over-stressed consonants. His virile approach to ‘Arm, arm, ye brave’ from “Judas Maccabaeus” provided a fine example.’
Handel Singing Competition Final, 23 April 2007
‘According to the chair of the judges, musician and conductor Richard Bonynge, and fellow panellists … the decision was unanimous. But it cannot have been arrived at easily. The Audience Award went to Derek Welton, whose beautiful baritone charmed with art songs by Beethoven, Butterworth, Strauss and Schubert.’
John Slavin, The Age, 9 May 2006
Mietta Song Recital Award Final, 7 May 2006
‘Rising Australian baritone Derek Welton is majestic in the title role. It’s difficult to imagine a voice better suited to the part: opulent, authoritative tone, liquid legato, impressive agility and near-flawless English diction combining to create a memorable performance. Director Jacqueline Coates’ 1930s update has removed some of the character’s broad Shakespearean colour, re-casting Sir John as a small town swindler, but Welton indulges all the same in some brilliant buffoonery, his mellifluous yet subtly gravelly vocalism a perfect match for his shabbily lascivious Falstaff. It’s hard to believe (though not surprising given the
rarity of the opera) that this production marks his début in the rôle, or that Welton is just twenty-three years old. He’s a natural stage animal in remarkable command of his material who deserves a shining future’.
Falstaff, Opera Otago, 25 March-1 April 2006
‘Derek Welton, imported from Melbourne, gave a great character performance in the baritone role of Falstaff - portly, obnoxious and thoroughly lecherous.’
Elizabeth Bouman, Otago Daily Times, 27 March 2006
Falstaff, Opera Otago, 25 March-1 April 2006
‘Led by Melbourne baritone Derek Welton in the powerful comic role of Falstaff, the small cast was uniformly excellent. Welton himself was a delight, giving the role huge comic energy while maintaining a strong vocal performance.’
Brenda Harwood, The Star, 30 March 2006
Falstaff, Opera Otago, 25 March-1 April 2006
‘In his compelling version of “Why do the nations rage?”, bass Derek Welton
raised the dramatic tension. Throughout the night Welton came across as rather magnificent. His grounded and centred sound was a handy tool for each of his four arias.’
Xenia Hanusiak, Herald Sun, 21 December 2005
Handel Messiah, Royal Melbourne Philharmonic, 18 December 2005
‘Young bass Derek Welton has a powerful voice and delights in his forceful dynamic, but he produced a shapely line for The trumpet shall sound’
Clive O’Connell, The Age, 21 December 2005
Handel Messiah, Royal Melbourne Philharmonic, 18 December 2005
‘Welton, who has a voice as rich and dark as the finest chocolate, … seems destined to sing
Wagner and Mahler in Europe’
Sybil Nolan, Herald Sun, 24 October 2005
Herald Sun Aria Final, 20 October 2005
‘In both parts of the program, the Chorale enjoyed the services of a well-balanced quartet of soloists … the impressive baritone of Derek Welton’
Clive O’Connell,
The Age, 21 March 2005
First Subscription Concert, Melbourne Chorale, 10-20 March 2005
‘The famous bass aria The Trumpet Shall Sound was … particularly moving’
‘Welton’s performance was commendable for a man who is only 22. His rich sound carried this hefty role well’
Kylie Skotnicki, Sunday Herald Sun, 26 December 2004
Handel Messiah, Royal Melbourne Philharmonic, 19 December 2004
‘The youngest contender, 22-year-old baritone Derek Welton, followed … with an awesome
performance of Wagner’s Tannhäuser’.
Chris Boyd, Herald Sun, 1 November 2004
Herald Sun Aria Final, 28 October 2004
‘Welton’s baritone is rich in timbre and sharply defined for so young a singer. He never sounds forced and in Donne mie la fate he touchingly suggests the wound delivered by his inconstant beloved. He is a star in the making’
John Slavin,
The Age, 28 September 2004
Mozart Così fan tutte, Melbourne Opera Company
25 September-3 October 2004
‘The acting and singing of the handsome cast … provide delectable entertainment’
‘This is a fine team effort, with two outstanding contributors. Welton has an attractive baritone and a style of rueful comedy … that suggest he’s a Figaro in the making’
Mozart Così fan tutte, Melbourne Opera Company
25 September-3 October 2004
‘Derek Welton … displayed a rich comic gift, as well as a very pleasing voice’
Peter Taplin, Independent Arts Review Edition 11 (December 2003-January 2004)
Mozart The Magic Flute, Melbourne Opera Company
6-16 November 2003