Bass-baritone Derek Welton is a graduate of the University of Melbourne, Australia, holding a Bachelor of Arts degree majoring in German and Linguistics, and of the Guildhall School of Music and Drama, holding Master of Music (Vocal Studies) and Master of Music Performance (Opera Studies) degrees with Distinction.
Derek has performed at the Salzburg Festival, Opera North (UK), Teatro dell’Opera di Roma and many other houses in roles including Pangloss/Martin (Candide), Silvano (La Calisto), King Hildebrand (Dove’s The Enchanted Pig), Vertigo (Gluck’s La rencontre imprévue), Creonte (Haydn’s L’anima del filosofo), Mozart’s Figaro, Count Almaviva, Don Giovanni, Don Alfonso (cover), Masetto, Guglielmo, Papageno and Speaker, the Bonze (Madama Butterfly), Mill (La cambiale di matrimonio), Salieri’s Falstaff, King (Sallinen’s The King goes forth to France), Der Pfleger des Orest (Elektra), Geisterbote (cover, Die Frau ohne Schatten), Nick Shadow (The Rake’s Progress), Monterone (Rigoletto) and Donner (Das Rheingold). Derek’s competition wins include the Emmerich Smola Förderpreis, the Handel Singing Competition and the Australian Youth Aria.
A sought-after concert artist, Derek has performed at venues including the Barbican, Bridgewater Hall, Royal Albert Hall, Theater an der Wien, Wigmore Hall and Hamer Hall (Melbourne), as soloist in over fifty choral and orchestral works as well as a diverse range of song repertoire. Conductors with whom Derek has worked include Ivor Bolton, John Butt, Guillermo García Calvo, Christian Curnyn, Richard Egarr, Richard Farnes, Leo Hussain, Stephen Layton, Wayne Marshall, Stefan Soltesz, Warwick Stengårds, David Syrus and Antony Walker.
Future opera roles include the Bonze for Grange Park Opera, Mozart’s Figaro for Glyndebourne on Tour, Gralsritter (and cover Amfortas) in Parsifal at the Salzburg Easter Festival under Christian Thielemann, Antonio (and cover Count) at the Festspiele Baden-Baden under Thomas Hengelbrock in a cast including Netrebko, Schrott and Pisaroni, De Brétigny in Manon with the Philharmonie Luxembourg, Klingsor in Parsifal for the Beijing Music Festival, Harašta in The Cunning Little Vixen at Opéra de Lille, and Graf Dominik in Arabella at the Osterfestspiele Salzburg and the Semperoper Dresden under Thielemann.
Forthcoming concerts include the Christmas Oratorio with the Sønderjyllands Symfoniorkester in Denmark, Messiah with the Royal Scottish National Orchestra and the Mass in B minor with the Melbourne Symphony Orchestra.
Derek features on two recordings: a solo CD of Vaughan Williams with Iain Burnside, piano, for Albion Records (BBC Music Magazine ★★★★★); and the Pinchgut Records CD of his performance as Creonte in Haydn’s L’anima del filosofo.
Critical acclaim of Derek Welton’s performances includes the following:
Derek has performed at the Salzburg Festival, Opera North (UK), Teatro dell’Opera di Roma and many other houses in roles including Pangloss/Martin (Candide), Silvano (La Calisto), King Hildebrand (Dove’s The Enchanted Pig), Vertigo (Gluck’s La rencontre imprévue), Creonte (Haydn’s L’anima del filosofo), Mozart’s Figaro, Count Almaviva, Don Giovanni, Don Alfonso (cover), Masetto, Guglielmo, Papageno and Speaker, the Bonze (Madama Butterfly), Mill (La cambiale di matrimonio), Salieri’s Falstaff, King (Sallinen’s The King goes forth to France), Der Pfleger des Orest (Elektra), Geisterbote (cover, Die Frau ohne Schatten), Nick Shadow (The Rake’s Progress), Monterone (Rigoletto) and Donner (Das Rheingold). Derek’s competition wins include the Emmerich Smola Förderpreis, the Handel Singing Competition and the Australian Youth Aria.
A sought-after concert artist, Derek has performed at venues including the Barbican, Bridgewater Hall, Royal Albert Hall, Theater an der Wien, Wigmore Hall and Hamer Hall (Melbourne), as soloist in over fifty choral and orchestral works as well as a diverse range of song repertoire. Conductors with whom Derek has worked include Ivor Bolton, John Butt, Guillermo García Calvo, Christian Curnyn, Richard Egarr, Richard Farnes, Leo Hussain, Stephen Layton, Wayne Marshall, Stefan Soltesz, Warwick Stengårds, David Syrus and Antony Walker.
Future opera roles include the Bonze for Grange Park Opera, Mozart’s Figaro for Glyndebourne on Tour, Gralsritter (and cover Amfortas) in Parsifal at the Salzburg Easter Festival under Christian Thielemann, Antonio (and cover Count) at the Festspiele Baden-Baden under Thomas Hengelbrock in a cast including Netrebko, Schrott and Pisaroni, De Brétigny in Manon with the Philharmonie Luxembourg, Klingsor in Parsifal for the Beijing Music Festival, Harašta in The Cunning Little Vixen at Opéra de Lille, and Graf Dominik in Arabella at the Osterfestspiele Salzburg and the Semperoper Dresden under Thielemann.
Forthcoming concerts include the Christmas Oratorio with the Sønderjyllands Symfoniorkester in Denmark, Messiah with the Royal Scottish National Orchestra and the Mass in B minor with the Melbourne Symphony Orchestra.
Derek features on two recordings: a solo CD of Vaughan Williams with Iain Burnside, piano, for Albion Records (BBC Music Magazine ★★★★★); and the Pinchgut Records CD of his performance as Creonte in Haydn’s L’anima del filosofo.
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Critical acclaim of Derek Welton’s performances includes the following:
‘With his mellow baritone and graceful phrasing, Welton makes Creonte more sympathetic … though he musters a fine, ringing sonority for his ‘vengeance’ aria’ (Gramophone)
‘The soloist is the young Australian Derek Welton, whose manly, oaken baritone is sensitively offset by Iain Burnside’s superbly supportive accompaniments.’ (BBC Music Magazine)
‘Welton is an excellent singer, his vibrant baritone perfect for the swaggering nature of some of the songs, while he can scale down tenderly for others’ (International Record Review)
‘Derek Welton 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)
‘Derek Welton sang Donner with a magisterial tone and although I could find no previous Wagnerian roles in his credits it seems likely he could forge a successful career in the Heldenbariton repertory.’ (Opera Britannia)
‘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.’ (The Guardian)
‘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.’ (The Independent)
‘Smoky toned bass-baritone Derek Welton sang with alluring warmth and resounding power’ (The Australian)
‘A complete artist, odd to find so mature a figure in a youth opera, but one of those performers you can’t take your eyes off when he is onstage.’ (Spectator)
‘It also showcased a number of fine performances, none finer than … the baritone Derek Welton’s virile-voiced, authoritative King.’ (Opera)
‘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.’ (The Times)
‘Derek Welton’s King sings with immense authority while morphing from infantile monarch to loud-mouthed sadist.’ (Financial Times)
‘A voice as rich and dark as the finest chocolate.’ (Herald Sun)
‘A star in the making.’ (The Age)
‘The soloist is the young Australian Derek Welton, whose manly, oaken baritone is sensitively offset by Iain Burnside’s superbly supportive accompaniments.’ (BBC Music Magazine)
‘Welton is an excellent singer, his vibrant baritone perfect for the swaggering nature of some of the songs, while he can scale down tenderly for others’ (International Record Review)
‘Derek Welton 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)
‘Derek Welton sang Donner with a magisterial tone and although I could find no previous Wagnerian roles in his credits it seems likely he could forge a successful career in the Heldenbariton repertory.’ (Opera Britannia)
‘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.’ (The Guardian)
‘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.’ (The Independent)
‘Smoky toned bass-baritone Derek Welton sang with alluring warmth and resounding power’ (The Australian)
‘A complete artist, odd to find so mature a figure in a youth opera, but one of those performers you can’t take your eyes off when he is onstage.’ (Spectator)
‘It also showcased a number of fine performances, none finer than … the baritone Derek Welton’s virile-voiced, authoritative King.’ (Opera)
‘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.’ (The Times)
‘Derek Welton’s King sings with immense authority while morphing from infantile monarch to loud-mouthed sadist.’ (Financial Times)
‘A voice as rich and dark as the finest chocolate.’ (Herald Sun)
‘A star in the making.’ (The Age)
Après avoir reçu un Bachelors en linguistique et germanistique de l’Université de Melbourne, le baryton-basse Australien Derek Welton a suivi cursus «Masters» en Musique et Opéra à la Guildhall School of Music and Drama à Londres. Il a remporté, entre autres, les premiers prix dans l’Emmerich Smola Förderpreis d’Allemagne, la Handel Singing Competition de Londres et la Australian Youth Aria.
Derek a chanté au Festival de Salzbourg, Teatro dell’Opera di Roma, Opera North (Royaume-Uni) et divers autres dans les rôles, y compris Pangloss/Martin dans Candide, Silvano dans La Calisto, King Hildebrand dans The Enchanted Pig de Jonathan Dove, Vertigo dans La rencontre imprévue de Gluck, Creonte dans L’anima del filosofo de Haydn, Figaro, Le comte Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno et Sprecher de Mozart, Bonzo dans Madama Butterfly, Mill dans La cambiale di matrimonio, Falstaff de Salieri, le Roi dans Le Roi se rend en France de Sallinen, Nick Shadow dans The Rake’s Progress, Monterone dans Rigoletto et Donner dans Das Rheingold.
On a pu l’entendre en concert, entre autres, au Barbican, à la Bridgewater Hall, à la Royal Albert Hall, au Theater an der Wien, à la Wigmore Hall et à la Hamer Hall (Melbourne), dans des œuvres chorales et orchestrales plus de cinquante ainsi que d’une gamme diversifiée de répertoire de la chanson. Il a chanté comme soliste sous la direction de chefs tels que Ivor Bolton, John Butt, Guillermo García Calvo, Christian Curnyn, Richard Egarr, Richard Farnes, Leo Hussain, Stephen Layton, Wayne Marshall, Stefan Soltesz, Warwick Stengårds et Antony Walker.
Rôles d’opéra futurs comprennent Bonzo à la Grange Park Opera, Figaro de Mozart à Glyndebourne on Tour, Gralsritter dans Parsifal à l’Osterfestspiele Salzburg avec Christian Thielemann, Antonio dans Le nozze di Figaro avec Netrebko, Schrott et Pisaroni au Festspiele Baden-Baden avec Thomas Hengelbrock, De Brétigny dans Manon avec le Philharmonie Luxembourg, Klingsor dans Parsifal à la Beijing Music Festival, Harašta dans La petite renarde rusée à l’Opéra de Lille, et Graf Dominik dans Arabella dans l’Osterfestspiele Salzburg et à la Semperoper Dresden avec Christian Thielemann.
Les engagements futurs de concerts comprennent l’Oratorio de Noël avec le Sønderjyllands Symfoniorkester au Danemark, Messiah avec le Royal Scottish National Orchestra, et la Messe en si mineur avec le Melbourne Symphony Orchestra.
On peut entendre Derek Welton dans deux enregistrements: On Christmas Day (Arrangements de chansons folkloriques de Vaughan Williams) avec Iain Burnside (BBC Music Magazine ★★★★★) et dans le rôle de Creonte dans L’anima del filosofo de Haydn (Pinchgut Live).
Derek a chanté au Festival de Salzbourg, Teatro dell’Opera di Roma, Opera North (Royaume-Uni) et divers autres dans les rôles, y compris Pangloss/Martin dans Candide, Silvano dans La Calisto, King Hildebrand dans The Enchanted Pig de Jonathan Dove, Vertigo dans La rencontre imprévue de Gluck, Creonte dans L’anima del filosofo de Haydn, Figaro, Le comte Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno et Sprecher de Mozart, Bonzo dans Madama Butterfly, Mill dans La cambiale di matrimonio, Falstaff de Salieri, le Roi dans Le Roi se rend en France de Sallinen, Nick Shadow dans The Rake’s Progress, Monterone dans Rigoletto et Donner dans Das Rheingold.
On a pu l’entendre en concert, entre autres, au Barbican, à la Bridgewater Hall, à la Royal Albert Hall, au Theater an der Wien, à la Wigmore Hall et à la Hamer Hall (Melbourne), dans des œuvres chorales et orchestrales plus de cinquante ainsi que d’une gamme diversifiée de répertoire de la chanson. Il a chanté comme soliste sous la direction de chefs tels que Ivor Bolton, John Butt, Guillermo García Calvo, Christian Curnyn, Richard Egarr, Richard Farnes, Leo Hussain, Stephen Layton, Wayne Marshall, Stefan Soltesz, Warwick Stengårds et Antony Walker.
Rôles d’opéra futurs comprennent Bonzo à la Grange Park Opera, Figaro de Mozart à Glyndebourne on Tour, Gralsritter dans Parsifal à l’Osterfestspiele Salzburg avec Christian Thielemann, Antonio dans Le nozze di Figaro avec Netrebko, Schrott et Pisaroni au Festspiele Baden-Baden avec Thomas Hengelbrock, De Brétigny dans Manon avec le Philharmonie Luxembourg, Klingsor dans Parsifal à la Beijing Music Festival, Harašta dans La petite renarde rusée à l’Opéra de Lille, et Graf Dominik dans Arabella dans l’Osterfestspiele Salzburg et à la Semperoper Dresden avec Christian Thielemann.
Les engagements futurs de concerts comprennent l’Oratorio de Noël avec le Sønderjyllands Symfoniorkester au Danemark, Messiah avec le Royal Scottish National Orchestra, et la Messe en si mineur avec le Melbourne Symphony Orchestra.
On peut entendre Derek Welton dans deux enregistrements: On Christmas Day (Arrangements de chansons folkloriques de Vaughan Williams) avec Iain Burnside (BBC Music Magazine ★★★★★) et dans le rôle de Creonte dans L’anima del filosofo de Haydn (Pinchgut Live).
Veuillez noter: Cette biographie est pour information seulement et ne doivent pas être reproduites. S’il vous plaît contactez le webmaster pour une biographie complète.
Der australische Bassbariton Derek Welton erhielt nach seinem Bachelor in Deutsch und Sprachwissenschaften an der Universität Melbourne seine Gesangsausbildung an der Guildhall School of Music and Drama in London. Er gewann u.a. die Ersten Preise beim Emmerich Smola Förderpreis, Londoner Händel-Gesangswettbewerbs und Australian Youth Aria Wettbewerb und den Zweiten Preis beim Herald Sun Aria Wettbewerb in Melbourne.
Auf der Opernbühne bei u.a. der Salzburger Festspiele, dem Teatro dell’Opera di Roma und der Opera North (Großbritannien) war Derek Welton u.a. in folgenden Rollen zu erleben: Pangloss/Martin in Candide, Silvano in La Calisto, King Hildebrand in Jonathan Doves The Enchanted Pig, Vertigo in Glucks La rencontre imprévue, Creonte in Haydns L’anima del filosofo, Mozarts Figaro, Graf Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno und Sprecher, Bonzo in Madama Butterfly, Mill in La cambiale di matrimonio, Salieris Falstaff, der König in Sallinens Der König begibt sich nach Frankreich, Nick Shadow in The Rake’s Progress, Monterone in Rigoletto und Donner in Das Rheingold.
Als Konzertsänger trat Derek Welton u.a. im Barbican Centre, in der Bridgewater Hall, in der Royal Albert Hall, im Theater an der Wien, in der Wigmore Hall und in der Hamer Hall (Melbourne), in mehr also 50 Chor- und Orchesterwerken auf. Er arbeitete mit Dirigenten wie Ivor Bolton, John Butt, Guillermo García Calvo, Christian Curnyn, Richard Egarr, Richard Farnes, Leo Hussain, Stephen Layton, Wayne Marshall, Stefan Soltesz, Warwick Stengårds und Antony Walker.
Zukünftige Opernrollen gehören Bonzo mit der Grange Park Opera, Mozarts Figaro mit Glyndebourne on Tour, Gralsritter in Parsifal bei der Osterfestspiele Salzburg mit Christian Thielemann, Antonio in Le nozze di Figaro mit Netrebko, Schrott und Pisaroni bei der Festspiele Baden-Baden mit Thomas Hengelbrock, De Brétigny in Manon mit dem Philharmonie Luxembourg, Klingsor in Parsifal bei der Beijing Music Festival, Harašta in Das schlaue Füchslein bei der Opéra de Lille, und Graf Dominik in Arabella bei der Osterfestspiele Salzburg und bei der Semperoper Dresden mit Christian Thielemann.
Derek wird auch in der Zukunft u.a. in Bachs Weihnachts-Oratorium mit dem Sønderjyllands Symfoniorkester in Dänemark, in Händels Messias mit dem Royal Scottish National Orchestra, und in Bachs Messe in H-moll mit dem Melbourne Symphony Orchestra zu hören sein.
Derek Welton ist auf folgenden CDs zu hören: On Christmas Day (Vereinbarungen des Volksliedes von Vaughan Williams) mit Iain Burnside (BBC Music Magazine ★★★★★) und als Creonte in Haydns L’anima del filosofo (Pinchgut Live).
Auf der Opernbühne bei u.a. der Salzburger Festspiele, dem Teatro dell’Opera di Roma und der Opera North (Großbritannien) war Derek Welton u.a. in folgenden Rollen zu erleben: Pangloss/Martin in Candide, Silvano in La Calisto, King Hildebrand in Jonathan Doves The Enchanted Pig, Vertigo in Glucks La rencontre imprévue, Creonte in Haydns L’anima del filosofo, Mozarts Figaro, Graf Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno und Sprecher, Bonzo in Madama Butterfly, Mill in La cambiale di matrimonio, Salieris Falstaff, der König in Sallinens Der König begibt sich nach Frankreich, Nick Shadow in The Rake’s Progress, Monterone in Rigoletto und Donner in Das Rheingold.
Als Konzertsänger trat Derek Welton u.a. im Barbican Centre, in der Bridgewater Hall, in der Royal Albert Hall, im Theater an der Wien, in der Wigmore Hall und in der Hamer Hall (Melbourne), in mehr also 50 Chor- und Orchesterwerken auf. Er arbeitete mit Dirigenten wie Ivor Bolton, John Butt, Guillermo García Calvo, Christian Curnyn, Richard Egarr, Richard Farnes, Leo Hussain, Stephen Layton, Wayne Marshall, Stefan Soltesz, Warwick Stengårds und Antony Walker.
Zukünftige Opernrollen gehören Bonzo mit der Grange Park Opera, Mozarts Figaro mit Glyndebourne on Tour, Gralsritter in Parsifal bei der Osterfestspiele Salzburg mit Christian Thielemann, Antonio in Le nozze di Figaro mit Netrebko, Schrott und Pisaroni bei der Festspiele Baden-Baden mit Thomas Hengelbrock, De Brétigny in Manon mit dem Philharmonie Luxembourg, Klingsor in Parsifal bei der Beijing Music Festival, Harašta in Das schlaue Füchslein bei der Opéra de Lille, und Graf Dominik in Arabella bei der Osterfestspiele Salzburg und bei der Semperoper Dresden mit Christian Thielemann.
Derek wird auch in der Zukunft u.a. in Bachs Weihnachts-Oratorium mit dem Sønderjyllands Symfoniorkester in Dänemark, in Händels Messias mit dem Royal Scottish National Orchestra, und in Bachs Messe in H-moll mit dem Melbourne Symphony Orchestra zu hören sein.
Derek Welton ist auf folgenden CDs zu hören: On Christmas Day (Vereinbarungen des Volksliedes von Vaughan Williams) mit Iain Burnside (BBC Music Magazine ★★★★★) und als Creonte in Haydns L’anima del filosofo (Pinchgut Live).
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Il basso-baritono australiano Derek Welton ha ottenuto il Bachelor of Arts all’Università di Melbourne, specializzandosi in linguistica e tedesco, e alla Guildhall School of Music and Drama di Londra ha ottenuto il Master of Music (Studi Vocali) e Master of Music Performance (Studi di Opera) con lode. Ha ricevuto, tra gli altri, i primi premi nel Emmerich Smola Förderpreis di Germania, nel Handel Singing Competition di Londra e nell’Australian Youth Aria, e il secondo premio nella Herald Sun Aria di Melbourne. Apparirà come finalista al Emmerich Smola Förderpreis in Germania nel gennaio 2012.
Derek ha cantato al Festival di Salisburgo, Teatro dell’Opera di Roma, Opera North (Regno Unito) e in molti altri posti, in ruoli quali Pangloss/Martin in Candide, Silvano ne La Calisto, King Hildebrand in The Enchanted Pig di Jonathan Dove, Vertigo ne La rencontre imprévue di Gluck, Creonte ne L’anima del filosofo di Haydn, Figaro, il Conte Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno e Sprecher di Mozart, Bonzo in Madama Butterfly, Mill ne La cambiale di matrimonio, Falstaff di Salieri, il Re ne Il Re va in Francia di Sallinen, Nick Shadow in The Rake’s Progress, Monterone in Rigoletto e Donner in Das Rheingold.
Concertista ricercato, si è esibito, fra gli altri, al Barbican, alla Bridgewater Hall, alla Royal Albert Hall, al Theater an der Wien, alla Wigmore Hall e alla Hamer Hall (Melbourne), come solista in oltre cinquanta opere corali e orchestrali e di un vasto repertorio delle canzoni. Ha collaborato con direttori quali Ivor Bolton, John Butt, Guillermo García Calvo, Christian Curnyn, Richard Egarr, Richard Farnes, Leo Hussain, Stephen Layton, Wayne Marshall, Stefan Soltesz, Warwick Stengårds e Antony Walker.
Ruoli futuri d’opera comprendono lo zio Bonzo alla Grange Park Opera, Figaro di Mozart a Glyndebourne on Tour, Gralsritter in Parsifal all’Osterfestspiele Salzburg con Christian Thielemann, Antonio ne Le nozze di Figaro con Netrebko, Schrott e Pisaroni al Festspiele Baden-Baden con Thomas Hengelbrock, De Brétigny in Manon con la Philharmonie Luxembourg, Klingsor in Parsifal al Beijing Music Festival, Harašta ne La volpe astuta all’Opéra de Lille, e Graf Dominik in Arabella all’Osterfestspiele Salzburg e alla Semperoper Dresden con Christian Thielemann.
Impegni concertistici futuri comprendono l’Oratorio di Natale di Bach con la Sønderjyllands Symfoniorkester in Danimarca, Messiah con la Royal Scottish National Orchestra, e la Missa in si minore di Bach con la Melbourne Symphony Orchestra.
Si può ascoltare Derek Welton in due registrazioni: On Christmas Day (arrangiamenti di canzone popolare di Vaughan Williams) con Iain Burnside (BBC Music Magazine ★★★★★), e la registrazione della sua interpretazione del ruolo di Creonte ne L’anima del filosofo di Haydn (Pinchgut Live).
Derek ha cantato al Festival di Salisburgo, Teatro dell’Opera di Roma, Opera North (Regno Unito) e in molti altri posti, in ruoli quali Pangloss/Martin in Candide, Silvano ne La Calisto, King Hildebrand in The Enchanted Pig di Jonathan Dove, Vertigo ne La rencontre imprévue di Gluck, Creonte ne L’anima del filosofo di Haydn, Figaro, il Conte Almaviva, Don Giovanni, Masetto, Guglielmo, Papageno e Sprecher di Mozart, Bonzo in Madama Butterfly, Mill ne La cambiale di matrimonio, Falstaff di Salieri, il Re ne Il Re va in Francia di Sallinen, Nick Shadow in The Rake’s Progress, Monterone in Rigoletto e Donner in Das Rheingold.
Concertista ricercato, si è esibito, fra gli altri, al Barbican, alla Bridgewater Hall, alla Royal Albert Hall, al Theater an der Wien, alla Wigmore Hall e alla Hamer Hall (Melbourne), come solista in oltre cinquanta opere corali e orchestrali e di un vasto repertorio delle canzoni. Ha collaborato con direttori quali Ivor Bolton, John Butt, Guillermo García Calvo, Christian Curnyn, Richard Egarr, Richard Farnes, Leo Hussain, Stephen Layton, Wayne Marshall, Stefan Soltesz, Warwick Stengårds e Antony Walker.
Ruoli futuri d’opera comprendono lo zio Bonzo alla Grange Park Opera, Figaro di Mozart a Glyndebourne on Tour, Gralsritter in Parsifal all’Osterfestspiele Salzburg con Christian Thielemann, Antonio ne Le nozze di Figaro con Netrebko, Schrott e Pisaroni al Festspiele Baden-Baden con Thomas Hengelbrock, De Brétigny in Manon con la Philharmonie Luxembourg, Klingsor in Parsifal al Beijing Music Festival, Harašta ne La volpe astuta all’Opéra de Lille, e Graf Dominik in Arabella all’Osterfestspiele Salzburg e alla Semperoper Dresden con Christian Thielemann.
Impegni concertistici futuri comprendono l’Oratorio di Natale di Bach con la Sønderjyllands Symfoniorkester in Danimarca, Messiah con la Royal Scottish National Orchestra, e la Missa in si minore di Bach con la Melbourne Symphony Orchestra.
Si può ascoltare Derek Welton in due registrazioni: On Christmas Day (arrangiamenti di canzone popolare di Vaughan Williams) con Iain Burnside (BBC Music Magazine ★★★★★), e la registrazione della sua interpretazione del ruolo di Creonte ne L’anima del filosofo di Haydn (Pinchgut Live).
Nota: Questa biografia ha scopo puramente informativo e non deve essere copiata o riprodotte. Si prega di contattare il webmaster per una biografia completa.