‘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.’