Press

Bernstein Candide, Teatro dell’Opera di Roma, January 2012

‘The fine Derek Welton is the sententious Pangloss’ (Italian: ‘Il bravo Derek Welton è il sentenzioso Pangloss’)

‘Commendable the Pangloss of Derek Welton and the Old Lady of Jane Henschel’ (Italian: ‘Bravi … il Pangloss di Derek Welton, la vecchia lady di Jane Henschel’)

‘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.’ (Italian: ‘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’)

‘Highly commended also the Old Lady of Jane Henschel, and the Pangloss - eccentric philosopher and apostle of optimism at all costs - of Derek Welton’ (Italian: ‘Da promuovere anche la ‘vecchia signora’ di Jane Henschel, e il Pangloss - strampalato filosofo, apostolo dell’ottimismo a tutti i costi - di Derek Welton.’)

‘Quite different metal in Derek Welton, who is assigned the roles of Pangloss, Martin and Cacambo: confident acting and more than ample volume’ (Italian: ‘Ben altro metallo in Derek Welton, a cui sono affidati i ruoli di Pangloss, Martin e Cacambo, recitazione sicura e volume più che ampio.’)

‘Well done also the Australian baritone D Welton (Pangloss-Martin-Cacambo): alternating his sonority according to the vocal writing.’ (Italian: ‘Bene anche il baritono australiano D Welton (Pangloss-Martin-Cacambo), anche lui dalla sonorità alterna a seconda della scrittura vocale’)

On Christmas Day, Folk-carols and folk-songs arranged by Ralph Vaughan Williams (Albion CD ALBCD013)

‘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 ★★★★★

‘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’

‘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.’

‘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.’

‘Attractively performed by the Australian baritone Derek Welton and the pianist Iain Burnside, the programme makes for an evocative vista of bygone Christmas times.’

‘Welton’s crisp, masculine baritone and crystal clear diction give us a beatiful set of songs full of ancient poetry and elegance’ (Danish: ‘Weltons sprøde macho-baryton og krystalklare diktion giver os en skøn stak sange fulde af ældgammel poesi og elegance.’)

Haydn L’anima del filosofo, Pinchgut Opera (Pinchgut Live PG001)

‘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.’

‘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.’

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’ (Italian: ‘Intenso l’Oreste di Alejandro Marco-Buhrmester, affiancato dal valido Precettore Derek Welton’)

Salzburg Festival Young Singers’ Project Soirée, 17 August 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’.’

Wagner Das Rheingold, Opera North, June-September 2011

‘Giselle Allen’s fearful Freia, Derek Welton’s forceful Donner, a stunning Fasolt … and three characterful Rhinemaidens … are revelations’

‘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.’

‘A cast of uniformly high quality sings from memory … Derek Welton’s impetuous Donner’

‘Welton and Wedd were … luxury casting … Welton’s resonant bass will hopefully one day see him as a Wotan’

‘Derek Welton, in appearance a shaven-headed enforcer, rolled out his Heda, Hedo thunderclaps with relish’

’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’

Bach Matthäus-Passion, Dunedin Consort, 14 and 15 April 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.’

‘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.’

Fauré Requiem and Paul Carr Requiem for an angel, Bath Minerva Choir and Bath Philharmonia, 9 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’

Handel Messiah, Early Opera Company, 19 December 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.’

‘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.’

‘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.’

‘The undoubted high points were Derek Welton’s glorious baritone, culminating in a powerful yet seemingly effortless “The trumpet shall sound”…’

Haydn L’anima del filosofo (Orfeo ed Euridice), Pinchgut Opera, December 2010

‘As Eurydice’s father Creon, smoky toned bass-baritone Derek Welton sang with alluring warmth and resounding power’

‘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’

‘Derek Welton as Creonte … was in some ways the most consistent singer, whose evenly produced baritone produced some ringing top notes’

‘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’

‘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.’

‘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.’

Puccini Madama Butterfly, Grange Park Opera, July 2010

‘Derek Welton [was] an impressive Bonze’

Prokofiev L’amour des trois oranges, Grange Park Opera, June 2010

‘There were several excellent cameos, including … Derek Welton [as] Farfarello’

Mendelssohn Elijah, Dundee Choral Union, 21 March 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.’

Handel Messiah, Hallé Choir and Orchestra, 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, British Youth Opera, 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’

‘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.’

‘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, Guildhall School of Music and Drama, 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, London Handel Festival, 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, Burford Singers, 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, Dundee Choral Union, 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, Guildhall School of Music and Drama, 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, Oxford Bach Choir, 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, Bloomsbury Opera, 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, Opera East Productions, 20 July 2008

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

Elgar The Dream of Gerontius, Chichester Singers, 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, Solomon Choir and Orchestra, 27 March 2008

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

Bach St Matthew Passion, London Handel Festival, 21 March 2008

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

Handel Messiah, Oxford Bach Choir, 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, Lymington Choral Society, 12 May 2007

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

Rossini Stabat Mater, Beccles Choral Society, 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

‘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.’

‘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.’

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.’

Handel 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’

Handel 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’

Mozart 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’

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

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