Reviews

Handel Messiah, 5 December 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’

Stravinsky The Rake’s Progress, 5 September 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.’

‘Derek Welton’s charismatic, Nosferatu-without-the-fangs Nick Shadow [showed] a young singer of exceptional presence’

‘Derek Welton’s Nick Shadow possesses the vital command of a stage devil.’

‘Derek Welton’s Nick Shadow [was] a study of quiet, pitiless cruelty’

‘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.’

‘Derek Welton sang Shadow with a remarkably sinister voice and the presence to match it.’

‘The darker the opera gets, the more convincing becomes Derek Welton’s satanic Nick Shadow.’

‘Tom was pretty easily blandished away by Derek Welton’s bluff Shadow, neither unctuous Jeeves nor infernal Mephisto’

Rossini La cambiale di matrimonio, 3 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.

Kathleen Ferrier Awards Final, 24 April 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’

‘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.’

Handel Jephtha, 14 April 2009

‘Derek Welton did sterling work as Jephtha’s brother.’

‘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.’

‘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.’

Handel Messiah, 5 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.’

Brahms Ein Deutsches Requiem, 15 March 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.’

Sallinen The King goes forth to France, 4 March 2009

‘It also showcased a number of fine performances, none finer than … the baritone Derek Welton’s virile-voiced, authoritative King.’

‘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.’

‘Derek Welton’s King sings with immense authority while morphing from infantile monarch to loud-mouthed sadist.’

‘The student performers, led by Derek Welton’s unhinged king and Jonathan Sells’s conniving prime minister, are finely focused.’

‘Derek Welton’s arrogant, irrational, polymorphously perverse Prince/King [is] delivered with charisma and intelligence.’

‘Derek Welton brought a focussed presence to the title role, which he sang in an incisive baritone.’

‘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.’

Vaughan Williams Sancta Civitas and Five Mystical Songs, 6 December 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.’

Mozart Don Giovanni, 10 October 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’

Mozart Le Nozze di Figaro, 20 July 2008

‘Derek Welton’s dynamic and charismatic Figaro underpins the whole play’

Elgar The Dream of Gerontius, 21 June 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.’

Handel Messiah, 27 March 2008

‘Derek Welton combines perfectly articulated diction with an imposing presence.’

Bach St Matthew Passion, 21 March 2008

‘The sumptuous-voiced Derek Welton … was a fine Christus.’

Handel Messiah, 8 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’

Mendelssohn St Paul, 12 May 2007

‘The Australian baritone, Derek Welton, demonstrated his operatic experience in his skilful interpretation and clear diction’

Rossini Stabat Mater, 28 April 2007

‘Australian baritone Derek Welton has a richness and depth of tone throughout a wide range’

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’

‘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.’

Link to article in Classical Music, 9 June 2007, p10

Mietta Song Recital Award Final, 7 May 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.’

Falstaff, Opera Otago, 25 March-1 April 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.’

‘Derek Welton, imported from Melbourne, gave a great character performance in the baritone role of Falstaff - portly, obnoxious and thoroughly lecherous.’

‘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.’

Messiah, Royal Melbourne Philharmonic, 18 December 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.’

‘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’

Herald Sun Aria Final, 20 October 2005

‘Welton, who has a voice as rich and dark as the finest chocolate, … seems destined to sing Wagner and Mahler in Europe’

First Subscription Concert, Melbourne Chorale, 10-20 March 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’

Messiah, Royal Melbourne Philharmonic, 19 December 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’

Herald Sun Aria Final, 28 October 2004

‘The youngest contender, 22-year-old baritone Derek Welton, followed … with an awesome performance of Wagner's Tannhauser, smack in the middle of his tessitura’

Così fan tutte, Melbourne Opera Company
25 September-3 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’

‘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’

The Magic Flute, Melbourne Opera Company
6-16 November 2003

‘Derek Welton … displayed a rich comic gift, as well as a very pleasing voice’