Press


Click on the flags for original texts of translations.

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.’
Paul Selar, Opera Chaser, 21 April 2017
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’.
Mark Berry, Seen and Heard International, 20 April 2017
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.’
Joseph So, Musical Toronto, 16 April 2017
Wagner Das Rheingold, Deutsche Oper Berlin, 13 April 2017
‘Derek Welton is a robustly youthful Wotan.’ Deutsch

„Derek Welton ist ein kernig-jugendlicher Wotan“.

Frederik Hanssen, Der Tagesspiegel, 2 April 2017
Wagner Das Rheingold, Deutsche Oper Berlin, 1 April 2017
‘In Das Rheingold, Wotan is sung by the impeccable Derek Welton.’ Deutsch

„Wotan [wird] im Rheingold noch vom untadeligen Derek Welton gesungen“.

Albrecht Selge, Hundert11, 3 April 2017
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.’ Deutsch

„Derek Welton ist der Katholikenanführer Saint-Bris mit tragfähigem Baß, der bei der Schwerterweihe auch richtig aufdreht.“

Friedeon Rosén, Der neue Merker, February 2017
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.’ Deutsch

„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
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.’ Italiano

‘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.’ Italiano

‘Bella, bellissima sorpresa l’Araldo di Derek Welton, membro della compagnia della Deutsche Opera, che vorremmo riascoltare presto in ruoli di maggior impegno.’

Edoardo Saccenti, OperaClick, 8 December 2016
Wagner Lohengrin, Deutsche Oper Berlin, 4 December 2016
‘Highest authority and tireless sonority came also from Derek Welton (Saint-Bris)’. Deutsch

„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.’ Français

«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.»

Guy Cherqui, Wanderer, 4 December 2016
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Derek Welton depicted a Saint-Bris determined and vocally secure while icy in character.’ Italiano

‘Derek Welton ha dipinto un St. Bris determinato e sicuro vocalmente quanto glaciale come personaggio.’

Bruno Tredicine, OperaClick, 27 November 2016
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.’
A J Goldmann, Opera News, December 2016
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 17 November 2016
‘The Australian bass-baritone Derek Welton is an excellent (and implacable) Saint-Bris’. Français

«Le baryton-basse australien Derek Welton est un excellent (et implacable) Saint-Bris».

Emmanuel Andrieu, Classique News, 22 November 2016
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”’. Slovenčina

„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‘“.

Vladimíra Kmečová, Opera Slovakia, 23 November 2016
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’.
Jesse Simon, Mundo Clasico, 24 November 2016
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Derek Welton contrasts with full bass-baritone as the sinister Count of Saint-Bris.’ Deutsch

„Derek Welton kontrapunktiert mit breitem Bassbariton als finsterer Graf von Saint-Bris.“

Josef Schmitt, Die Presse, 17 November 2016
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.’ Español

‘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.’

Guy Cherqui, Platea Magazine, 16 November 2016
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.’ Deutsch

„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.“

Kaspar Sannemann, Oper Aktuell, 13 November 2016
Meyerbeer Les Huguenots, Deutsche Oper Berlin, 13 November 2016
‘Derek Welton delivered powerfully the intransigence of Saint-Bris.’ Deutsch

„Machtvoll verkündete Derek Welton die Unnachgiebigkeit des Saint-Bris.“

Ingrid Wanja, Der Opernfreund, 14 November 2016
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.’ Français

«Derek Welton dans le Comte de Saint-Bris et Irene Roberts dans Urbain sont tous les deux remarquables.»

Nicolas Chaplain, Toute la Culture, 15 November 2016
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.’ Español

‘Derek Welton lo hizo bien como Conde de Saint-Bris, con voz adecuada y bien emitida.’

José M Irurzun, Opera World, 15 November 2016
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.’
Ako Imamura, BachTrack, 17 October 2016
Wagner Parsifal, Deutsche Oper Berlin, 16 October 2016
‘As Klingsor, Welton manages an energetic, very vocally present portrait, completely without snarling demonic exaggeration.’ Deutsch

„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’. Français

«Le rôle [de Klingsor] trouve avec Derek Welton une interprétation engagée et une belle dynamique».

Vincent Guillemin, Altamusica, 21 October 2016
Wagner Parsifal, Deutsche Oper Berlin, 16 October 2016
‘We would mention the excellent Klingsor of Derek Welton’. Français

«On signalera l’excellent Klingsor de Derek Welton».

Laurent Vilarem, Opera Online, 19 October 2016
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’ Español

‘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.’

José M Irurzun, Opera World, 20 October 2016
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.’ Deutsch

„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.’
Andrew Moravcsik, Opera Today, 2 June 2016
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.’ Deutsch

„Als Heerrufer punktete Derek Welton mit jugendlichem heroischen Bariton, der durchaus größeren Rollen gewachsen wäre.“

Daniel Url, Bachtrack, 31 May 2016
Wagner Lohengrin, Semperoper Dresden, 29 May 2016
‘The Herald of Derek Welton was exceptional, with a well-placed and clear voice’. Italiano

‘L’araldo di Derek Welton era eccelso, con voce ben impostata e chiara’.

Guy Cherqui, Amadeus, 29 May 2016
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.’
A J Goldmann, Opera News, 25 May 2016
Wagner Lohengrin, Semperoper Dresden, 25 May 2016
‘Derek Welton is convincing as the Herald with a flattering Heldenbariton, securely placed tones and striking declamations.’ Deutsch

„Derek Welton überzeugt als Heerrufer mit schmeichelndem Heldenbariton, sicher gesetzten Tönen und markanten Ansagen.“

Bernd Stopka, Online Musik Magazin, 27 May 2016
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.’ Deutsch

„Derek Welton ergänzt das Solistenensemble als Heerrufer und beeindruckt mit hoher Textverständlichkeit und schönem Timbre.“

Andreas H Hölscher, Opern Netz, 27 May 2016
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.’ Français

«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.»

Wanderer, 27 May 2016
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’. Deutsch

„Während diesen vier großartigen Sängerdarstellern auch Georg Zeppenfeld als imposanter König Heinrich und Derek Welton als markanter Heerrufer in nichts nachstanden.“

Remy Franck, pizzicato, 27 May 2016
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.’ Français

„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.“

Vincent Guillemin, Alta Musica, 22 May 2016
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’. Deutsch

„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“.

Udo Pacolt, Der neue Merker, 22 May 2016
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.’ Deutsch

„Derek Welton sang einen klangschönen Heerrufer mit einem für die Rolle nahezu heldischem Format, ebenbürtig mit der übrigen Starbesetzung.“

Klaus Billand, Der neue Merker, 20 May 2016
Wagner Lohengrin, Semperoper Dresden, 19 May 2016
‘The Herald Derek Welton impressed’. Deutsch

„Der Heerrufer Derek Welton punktet“.

Manuel Brug, Die Welt, 20 May 2016
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.’ Deutsch

„Derek Welton durfte in Christine Mielitz’ Inszenierung der Heerrufer sein, so wie Richard Wagner ihn erdacht hatte … mit seinem gut geführten Bassbariton.“

Thomas Prochazka, Der neue Merker, 20 May 2016
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 smaaler roles.’ Deutsch

„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.“

Bettina Volksdorf, BR Klassik, 20 May 2016
Wagner Lohengrin, Semperoper Dresden, 19 May 2016
‘A promising Herald was sung by the Australian Derek Welton.’ Español

‘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.’ Deutsch

„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.’ Polski

‘Jednakże najbardziej podobały mi się arie basu - Dereka Weltona, który niezwykle niskim, majestatycznym głosem znakomicie interpretował tekst oratorium.’

Barbara Lekarczyk-Cisek, KulturaOnline, 15 April 2016
Handel Messiah, Narodowe Forum Muzyki, 10 April 2016
‘Derek Welton portrays a very present Altair, both theatrically and vocally.’ Français

«Derek Welton caractérise un Altaïr bien présent tant scéniquement que vocalement.»

Vincent Guillemin, Alta Musica, 11 April 2016
Strauss Die ägyptische Helena, Deutsche Oper Berlin, 8 April 2016
‘Derek Welton’s Altair was an intelligent, forthright portrayal.’
Mark Berry, Seen and Heard International, 10 April 2016
Strauss Die ägyptische Helena, Deutsche Oper Berlin, 8 April 2016
‘Derek Welton sang Altair in a focused and rounded baritone that carried well.’
Opera Traveller, 9 April 2016
Strauss Die ägyptische Helena, Deutsche Oper Berlin, 8 April 2016
‘Altair was song with flowing, beautiful-toned Kavalierbariton by the Australian Derek Welton’. Deutsch

„Altair [sang] mit strömendem, klangschönem Kavalier-Bariton, der Australier Derek Welton“.

Florian Amort, Opern Kritik, 5 April 2016
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’. Deutsch

„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.’ Nederlands

‘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.’ Deutsch

„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.“

Konstantin Parnian, Klassik.com, 24 February 2016
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.’ Deutsch

„Derek Welton gab einen so intelligenten wie rücksichtslosen Baron Prus, der Emilia Marty geschickt entlarvt, ohne davon freilich, wie erhofft, zu profitieren.“

Peter Jungblut, Bayerischer Rundfunk Klassik, 20 February 2016
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.’ Deutsch

„Derek Welton gibt mit volltönendem Bassbariton einen brutalen, machtgeilen Baron Jaroslav Prus, den Gegenspieler der Emilia Marty.“

Antje Rößler, KlassikInfo.de, 19 February 2016
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘The baritone Derek Welton was at once seductive and haughtily aristocratic as Prus.’
Rebecca Schmid, Classical Voice America, 24 February 2016
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].’
Polifonica Grimaldi, 2 March 2016
Janáček Věc Makropulos, Deutsche Oper Berlin, 28 February 2016
‘Derek Welton is a darkly authoritative Baron Prus’. Deutsch

„Derek Welton ist ein düster-autoritärer Baron Prus“.

Peter Uehling, Berliner Zeitung, 21 February 2016
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘Powerful: Derek Welton.’ Deutsch

„Kraftvoll: Derek Welton.“

Manuel Brug, Die Welt, 21 February 2016
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘As Baron Jaroslav Prus, Derek Welton is [Emilia Marty’s] vocally powerful antagonist’. Deutsch

„Derek Welton ist als Baron Jaroslav Prus ihr stimmmächtiger Gegenspieler.“

Julia Spinola, Deutschlandfunk, 20 February 2016
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘With an imposing, sonorous baritone, Derek Welton was a formidable Baron Prus’. Deutsch

„Mit markantem, sonorem Bariton war Derek Welton ein eindrucksvoller Baron Prus“.

Ingrid Wanja, Der Opernfreund, 20 February 2016
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.’ Français

«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.»

Vincent Guillemin, Alta Musica, 19 February 2016
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘Derek Welton possesses all the nobility and timbre to play the Baron Jaroslav Prus’. Français

«Derek Welton possède toute la noblesse et le timbre pour incarner le baron Jaroslav Prus».

Yannick Boussaert, Forum Opéra, 23 February 2016
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
‘Derek Welton [sang] Baron Prus with sonorously dark baritone’. Deutsch

„;Derek Welton Derek Welton [sang] Baron Prus mit klangvoll dunklem Bariton“.

Bernd Hoppe, Operalounge, 20 February 2016
Janáček Věc Makropulos, Deutsche Oper Berlin, 19 February 2016
2015
‘With imposing baritone and well-characterised acting, Derek Welton gave the interesting character of the Forester its appropriate profile.’ Deutsch

„Derek Welton gab mit markantem Bariton und differenzierender Darstellung der interessanten Figur des Försters das angemessene Profil.“

Ingrid Wanja, Der Opernfreund, 27 December 2015
Janáček Pŕíhody lišky Bystroušky, Deutsche Oper Berlin, 27 December 2015
‘We appreciate the authoritarian Sergeant of Derek Welton’. Français

«On apprécie le Sergent autoritaire de Derek Welton».

Vincent Guillemin, Altamusica, 14 November 2015
Puccini Manon Lescaut, Deutsche Oper Berlin, 5 and 14 November 2015
‘The baritone Derek Welton was the outstanding soloist’.
Barry Millington, London Evening Standard, 3 August 2015
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’.
Richard Fairman, Financial Times, 3 August 2015
Bruckner Mass in F minor, BBC Prom 20, 1 August 2015
‘The eloquence of Derek Welton could not be doubted’.
Richard Whitehouse, Classical Source, 2 August 2015
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.’
Shirley Apthorp, Financial Times, 12 May 2015
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.’ Deutsch

„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.’ Deutsch

„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”.’
Simon Holden, Bachtrack, 22 March 2015
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’.
Mervin Beng, The Straits Times, 13 March 2015
Beethoven Symphony No 9, Singapore Symphony Orchestra, 12 March 2015
‘Baritone Derek Welton demonstrated his mighty vocal depth.’
David Pinedo, Bachtrack, 2 March 2015
Haydn Nelson Mass, Britten Sinfonia, 28 February 2015
2014
‘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”’
Steven Brown, Houston Chronicle, 19 December 2014
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.”’
Rob Hubbard, Pioneer Press, 12 December 2014
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’
Alan Sanders, The Classical Source, 26 September 2014
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.’
Simon Holden, Bachtrack, 15 August 2014
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.’
John Daly-Peoples, The National Business Review, 16 August 2014
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”.’
Heather Leviston, Classic Melbourne, 18 August 2014
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.’ Deutsch

„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.“

Udo Klebes, Der neue Merker, 9 June 2014
Gounod Faust, Festspielhaus Baden-Baden, 6-15 June 2014
‘The three admirers of Arabella sing without blemish.’ Deutsch

„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’. Deutsch

„Die drei Grafen Elemer (Benjamin Bruns), Dominik (Derek Welton) und Lamoral (Steven Humes) klangen kaum weniger bemüht als der Matteo von Daniel Behle“.

Daniel Ender, Der Standard, 14 April 2014
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.’ Français

«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.»

Sabino Pena Arcia, Classique News, 3 February 2014
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’ Français

«Le solide Derek Welton convainc tout autant sous la coiffe d’un Harašta issu du peuple».

Nicolas Derny, Forum Opera, 28 January 2014
Janáček The cunning little vixen, Opéra de Lille, 28 January - 7 February 2014
2013
‘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.’ Deutsch

„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
‘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.’ Deutsch

„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.“

Werner Theurich, Spiegel Online, 15 September 2013
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’. Deutsch

„Herausragend … Derek Welton als Voland, ein magisch-mephistophelischer Intrigant mit dunkel grundiertem Bass.“.

Gerhart Asche, Weser Kurier, 16 September 2013
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.’ Deutsch

…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.“

Ludwig Steinbach, Der Opernfreund, 3 October 2013
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.’ Deutsch

„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.“.

Ralf Döring, Neue Osnabrücker Zeitung, 20 September 2013
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.’ Deutsch

„Strippenzieher ist der Teufel höchstpersönlich, der in Derek Welton nicht nur einen stimmsicheren Bass-Bariton gefunden hat, sondern auch einen charismatischen Verführer.“

Sören Ingwersen, Concerti
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.’
Tony Cooper, The Opera Critic, September 2013.
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).’ Deutsch

„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.’ Deutsch

„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.’ Deutsch

„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.’ Deutsch

„Mit souveräner Entertainerlässigkeit ist … Derek Welton der charismatische und überlegen auftretende mefistophelische Voland im weißen Anzug.“

Joachim Lange, Online Musik Magazin
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.’ Deutsch

„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.’
Barry Millington, London Evening Standard, 13 June 2013
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.’
Curtis Rogers, The Classical Source, 14 June 2013
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’
Julia Savage, One Stop Arts, 17 June 2013
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.’
Robert Hugill, Planet Hugill, 14 April 2013
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.’ Deutsch

„Stimmlich einwandfrei waren die beiden Gralsritter Thomas Ebenstein und Derek Welton, bekleidet wie Polarforscher“.

Harald Lacina, Der neue Merker, 23 March 2013
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
2012
‘As Figaro, meanwhile, Derek Welton showed he is the possessor of a major voice—a 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’. Italiano

‘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’. Italiano

‘Bravi … il Pangloss di Derek Welton, la vecchia lady di Jane Henschel’.

Giuseppe Pennisi, Milano Finanza, 21 January 2012
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.’ Italiano

‘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’.

Fabiana Raponi, Teatri Online, 24 January 2012
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)’. Italiano

‘Le voci degli interpreti sono tutte molto valide, però abbiamo avuto una preferenza per il baritono Derek Welton (Pangloss)’.

Pietro de Santis, Geniale Confusione, 2 February 2012
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’ Italiano

‘Da promuovere anche la ‘vecchia signora’ di Jane Henschel, e il Pangloss - strampalato filosofo, apostolo dell’ottimismo a tutti i costi - di Derek Welton.’

Pietro Acquafredda, Nuovo Paesesera, 20 January 2012
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’. Italiano

‘Ben altro metallo in Derek Welton, a cui sono affidati i ruoli di Pangloss, Martin e Cacambo, recitazione sicura e volume più che ampio.’

Dario Ascoli, Oltre Culture, 21 January 2012
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.’ Italiano

‘Bene anche il baritono australiano D Welton (Pangloss-Martin-Cacambo), anche lui dalla sonorità alterna a seconda della scrittura vocale’.

Giulia Grisi, Il Corriere della Grisi, 23 January 2012
Bernstein Candide, Teatro dell’Opera di Roma, January 2012
2011
‘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 ★★★★★
Terry Blain, BBC Music Magazine, Christmas 2011
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.’ Dansk

‘Weltons sprøde macho-baryton og krystalklare diktion giver os en skøn stak sange fulde af ældgammel poesi og elegance.’

Jyllands-Posten, 19 December 2011)
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.’
Richard Wigmore, Gramophone, February 2012
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.’
Clive Paget, Limelight Magazine, December 2011
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’ Italiano

‘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’
lietofinelondon, 13 September 2011
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.’
Kate Molleson, The Guardian, 17 April 2011
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.’
Simon Thompson, Seen and Heard International, 15 April 2011
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
2010
‘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.’
Michael Church, The Independent, 20 December 2010
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.’
Anna Picard, The Independent on Sunday, 26 December 2010
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.’
Peter Reed, The Classical Source, 20 December 2010
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”…’
BachTrack, 21 December 2010
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’
Murray Black, The Australian, 6 December 2010
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’
Peter McCallum, Sydney Morning Herald, 4 December 2010
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’
Sandra Bowdler, Opera Britannia, 17 December 2010
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
2009
‘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.’
Michael Tanner, Spectator, 9 September 2009
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.’
George Hall, The Guardian, 9 September 2009
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’
Michael Church, The Independent, 27 April 2009
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.’
Melanie Eskenazi,Classical Source,15 April 2009
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.’
Andrew Clark,Financial Times,6 March 2009
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.’
George Hall,The Guardian,6 March 2009
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.’
Anna Picard,The Independent,8 March 2009
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.’
Alexander Campbell,Classical Source,6 March 2009
Sallinen The King goes forth to France, Guildhall School of Music and Drama, 4 March 2009
2008
‘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
2007
‘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.’
John Hughes, The Classical Source,25 April 2007
Handel Singing Competition Final, 23 April 2007
2006
‘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: a future which I’ve little doubt will sooner or later include Verdi’s fat knight.’
Sarah Noble, Prima la musica, poi le parole,27 March 2006
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
2005
‘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
2004
‘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, Monday 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’
Neil Jillett, The Sunday Age, 26 September 2004, p 10
Mozart Così fan tutte, Melbourne Opera Company
25 September-3 October 2004
2003
‘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