‘Derek Welton not only cuts a fine figure: his Holländer, not merely a demon, portrays the human drama of this character vividly, together with a robust, well-balanced bass-baritone voice. One can hear that this man is already an established Wotan.’

‘Welton, with his rich and hearty bass-baritone, exuded nobility and regal prudence as King Henry, precisely in keeping with the extreme demands of this role.’

‘Heinrich der Vogler was portrayed by Derek Welton in top form, with a voice that is simultaneously haughty, severe and profound, possessing the necessary character that the role requires’

‘Derek Welton sings the title role of the Holländer in subtle shift between unearthly absence and full-blooded presence.’

‘Derek Welton, already experienced in Bayreuth, combines deeply resonating vocal power with a lyrical core.’

‘The Australian bass-baritone Derek Welton is very sexy indeed, and he certainly has an impressive voice.’

‘Australian bass-baritone Derek Welton has a dark low register, perfect for the part of Pater Profundus. His “Erleuchte mein bedürftig Herz!” was most uplifting’.

‘The Australian Derek Welton sounded equally powerful and rich in every register and portrayed his part with convincing expressivity.’

‘Derek Welton impresses with his of mastery of quiet and legato singing while maintaining excellent text clarity’

‘Derek Welton sang the Wanderer with absolute mastery of the role’

‘Bass-baritone Derek Welton was exceptionally good … Secure high notes, impressive volume and lyrical expressiveness combined to create a successful performance’.

‘Derek Welton delivered his part with relaxed, sonorous authority’

‘Derek Welton sang powerfully yet engagingly, technically with absolute clarity – a true Pater profundus’

‘The most magnificent performance of the evening, however, came from Derek Welton … – I had not encountered such a musical interpretation of the Wanderer, well thought-out, derived directly from the text and backed by an impeccable vocal technique, for a long time.’

‘Derek Welton gave us a riveting account of the Wanderer’s music. His dark, resonant bass-baritone is utterly healthy in tone. Indeed, the sound is so handsome and masculine, that this has to be one of the healthiest accounts of this giant role I’ve had the pleasure of hearing. So much that Welton did was communicated through the text. Yet there was a sense of groundedness in his Wanderer, that sense of knowing that fate was fixed and that the power he once had was no longer, that made his account even more compelling – all communicated through the voice and use of text.’

‘Derek Welton perfectly portrays a Wotan threatened by the twilight of the gods. The robustness and colour of this performer’s voice give each of his lines a particular dramatic intensity.’

‘The admirable and masterful Wanderer of Australian bass-baritone Derek Welton possesses both the nobility of the god who gradually sees his power crumble before being reduced to nothing, and the tenderness of the grandfather discovering the fruit of the forbidden love of his own twins. There is a great deal of humanity in his incarnation, mixed with impressive vocal authority and a typically Wagnerian technique of the long musical phrase, where the performer never shouts, never forces his beautiful natural projection, but passes joyfully over the entire orchestra and easily fills the volume of the Philharmonie. An artist to watch closely in the hope that he will return to Paris in the great Wagnerian roles where we expect him!’

‘Just like last year, the entire production was completely dominated by the Australian singer Derek Welton. Clear gestures and austere expression were enough for him to portray the natural authority of the ruler of the gods in Valhalla: his performance was undoubtedly the highlight of the performance and the audience looked forward to his every appearance on stage. His voice sounded perfectly balanced and he dominated all the singing parts.’

‘The excellent Wotan was the Australian bass-baritone Derek Welton, who has in his voice the means for a perfect balance of the dual characteristics of this role: a regal determination that does not tolerate resistance and a dignified grandeur. He phrased the cantilenas impressively and, in his facial expressions, involuntarily revealed his extensive stage experience with the role.’

‘[A] rightly acclaimed Wotan … And miracle: the sun god, the mysterious, proud master of Valhalla appeared on stage. A charismatic presence and noble, powerful singing, endowed with a rich timbre, unfurled in sumptuous colours’.

‘A timbre as rich as his record … a deeply rich voice, with noble sonority and an obvious technical mastery that enables him to cover a very wide spectrum of nuances.’

‘The bass of Derek Welton brought a depth and sonority to “Qui tollis” and his phrasing was meticulous.’

‘Welton’s bass-baritone delivered clarity and resonance … He gave full voice to the part’s more declamatory passages, most notably in a wonderfully bronzed Qui tollis peccata mundi.’

’Especially Derek Welton as Amfortas made [a] powerful impression, not least for [his] detailed attention to textual nuances in [his] vocal delivery.‘

‘Derek Welton’s Wotan is a mighty force’

‘Welton’s dark bass answered as Pater Profundus, a stark timbre reflecting dramatic text’

‘Derek Welton stars as an Amfortas full of nuances, impeccable in his declamatory phrasing.’

‘Derek Welton delights as Amfortas with his lyrically grounded bass-baritone, singing every phrase cleanly and making the torment of this man absolutely palpable.’

‘The Australian baritone Derek Welton’s Amfortas showed security in register, attention to detail, a homogeneous tone and a remarkable declamation without falling into affectation.’

‘Derek Welton sang Amfortas with equal confidence. His powerful baritone handled the extremely difficult part clearly, cleanly and with extremely clearly understandable diction.’

‘Derek Welton was totally praiseworthy in his portrayal of Wotan, ever moving, and singing fully with emotion.’

‘Derek Welton was a youthful Wotan, full of virile energy and using the full range of his voice to add meaning to the text, unafraid of descending almost to a whisper, highly effective and moving.’

‘Welton is superbly commanding as a distinguished-looking but troubled and disturbing, violently inclined Wotan’.

‘Derek Welton sang the father of the gods himself with equal confidence. His powerful baritone voice handled the extremely difficult part with ease, cleanly and with extremely clearly understandable diction.’

‘Derek Welton, very distinguished in his role, is the ideal Wotan of the moment and will be for a long time to come.

’The Australian Derek Welton, already experienced in Bayreuth, is a simply sensational Amfortas’.

‘Derek Welton is at home in the Wagner world and is a welcome guest in the great bass-baritone roles at all major houses. Hearing him live as Wotan for the first time today is absolutely thrilling. His voice sounds intoxicatingly beautiful in all registers. It seems to know no boundaries.

In his stage play, Wotan’s inner conflicts become apparent: His excessive anger seems deceptively real. What is even more impressive, however, is to hear how his heart softens through Brünnhilde’s speech, to feel how much he punishes himself by punishing Brünnhilde. Sung by Welton, the final aria is the most touching of Lied-singing in the greatest of opera.’

‘Derek Welton stands out among the top-class cast as Wotan with his voluminous and attractive bass-baritone. His facial expressions and body language emphasise his feelings.’

‘Derek Welton is a Wotan dazzling with power and presence.’

‘Derek Welton is unsurpassable as Wotan.’

‘Frustration, authority, love, ego: there is no side of Wotan that bass-baritone Derek Welton does not portray wonderfully.’

‘Derek Welton was a pleasantly human Wotan, whose fury was even able to strike fear into the heart of his fearlessly free favourite daughter, Brünnhilde, along with all the other Valkyries. His powerful timbre impressed with its utmost sophistication and never became brittle, even in the angriest finale.’

‘The sought-after Wagnerian bass-baritone Derek Welton gave a stirring performance. He supported his amazing singing lines with a charismatic acting performance in expression and gesticulation, for which he received a proper ovation. One could almost say that he created the prototype of an angry, but also a remorseful ruler. He almost overshadowed everyone on stage.’

‘Derek Welton became Lord and King of Valhalla yesterday. His impressive performance contained everything we could have wished for: he portrayed Wotan as a ruler, father and man both strong and failing. His vocal confidence as well as his perfect portrayal of the role were a great experience for the audience, who saw an operatic character created in astonishing vocal and interpretational flexibility.’

‘The splendid hero turns out to be Derek Welton. The Australian baritone dominates the overwhelming title role and infuses it with all the colours of the Lieder singer that he also is.’

‘The baritone Derek Welton was the great star in this staged version of Mendelssohn’s oratorio Elijah. His presence, his projection, the intensity of his acting, allowed him to embody an ideal prophet, an angry man, permanently questioning: fulminant in this shadowy oratorio.’

‘Derek Welton, a head taller than the rest of the cast, is imposing in the title role. Beyond his stature, his voice of bronze and his energy naturally place him in the footsteps of this “charismatic leader” with inspired phrasing. His timbre has the breadth and darkness of ancient oak, while his concentrated projection has the vitality of youth.’