Contact and Repertoire
Representation
Opera Repertoire
Representation
Patrick Togher, Director
Patrick Togher Artists’ Management
109A Burradoo Rd
Burradoo NSW 2576
Email: patrick@patricktogher.com
Mobile: 0411 129 690 (Patrick Togher)
Website: http://www.patricktogher.com
Natalie De Biasi: Artist Manager
natalie@patricktogher.com 0403 770 602
Paull-Anthony Keightley: Artist Manager
Paull@paticktogher.com 0433 043
Patrick Togher, Director
Patrick Togher Artists’ Management
109A Burradoo Rd
Burradoo NSW 2576
Email: patrick@patricktogher.com
Mobile: 0411 129 690 (Patrick Togher)
Website: http://www.patricktogher.com
Natalie De Biasi: Artist Manager
natalie@patricktogher.com 0403 770 602
Paull-Anthony Keightley: Artist Manager
Paull@paticktogher.com 0433 043 502
Amelia Berry: Assistant Artist Manager
A member of international Artist Managers’ Association (IAMA) http://www.iamaworld.com
A member of Opera Managers’ Association International http://www.operamanagers.org
https://www.patricktogher.com/warwick-fyfe/
In Concert
Opera Repertoire
Representation
Bach, Ein Deutsches Requiem. Melbourne Bach Choir.
Bach, St.John Passion. Melbourne
Bach, St Matthew Passion. Canberra,
Bach, B Minor Mass. Canberra
Bartók, Bluebeard's Castle. Monash Academy.
Beethoven 9. SSO, MSO, WASO.,
Beethoven, Mass in C. Melbourne.
Beethoven, Fidelio (WASO)
Dvorak, Stabat Mater (Willoughby Symphony)
Mahler 8. (OMM, Sing
Bach, Ein Deutsches Requiem. Melbourne Bach Choir.
Bach, St.John Passion. Melbourne
Bach, St Matthew Passion. Canberra,
Bach, B Minor Mass. Canberra
Bartók, Bluebeard's Castle. Monash Academy.
Beethoven 9. SSO, MSO, WASO.,
Beethoven, Mass in C. Melbourne.
Beethoven, Fidelio (WASO)
Dvorak, Stabat Mater (Willoughby Symphony)
Mahler 8. (OMM, Sing)
Orff, Carmina Burana SSO , MSO. QSO, ASO.NZSO.
Handel, Messiahs: Melbourne, Sydney, Brisbane, Adelaide, Hobart.
Missa Solemnis. SPO
Rachmaninoff, The Bells. (WASO)
Rossini, Stabat Mater. (SSO),
Szymanowski, Stabat Mater. (Melbourne Bach Choir)
Schoenberg, Gurrelieder. SSO
Verd, Requiem WASO, QSO, WAYO
Wagner, Rheingold, OMM (Sing)
Wagner, Walküre. WASO
Wagner; Parsifal OA
Photo: Rheingold in Concert, Tokyo. With Maestro Pietari Inkinen
Opera Repertoire
Opera Repertoire
Opera Repertoire
Warwick Fyfe is an Australian opera singer, Helden Baritone, considered to be one of Australia’s leading exponents of the Wagnerian repertoire who has performed throughout Australasia and internationally.
Wagner rôles include: Hans Sachs (Meistersinger) MOC; Wotan (Ring Cycle) MOC, OMM; Alberich (Ring Cycle) OA); Heerrufer (OA); Beckmes
Warwick Fyfe is an Australian opera singer, Helden Baritone, considered to be one of Australia’s leading exponents of the Wagnerian repertoire who has performed throughout Australasia and internationally.
Wagner rôles include: Hans Sachs (Meistersinger) MOC; Wotan (Ring Cycle) MOC, OMM; Alberich (Ring Cycle) OA); Heerrufer (OA); Beckmesser (OA); Klingsor (OA); Hunding (WASO); Dutchman (OA), Daland (VO); Wolfram (OA); Fasolt (SOSA).
Other rôles: Water King (Vodnik) (Rusalka- WAOC); Scarpia (Tosca, OA, WAO); Pizarro (Fidelio-MO, OA,WASO); Amonasro (Aida, OA, Finnish National Opera); Athanaël (Thaïs) (FNO); Peter (Hansel and Gretel) OA, OMM; Four Villains (Tales of Hoffmann) English Touring Opera); Falstaff (OA); Rigoletto (OA, New Zealand Opera); Sancho Panza (Don Quichote) OA; Paolo (Simon Boccanegra (OA); Leporello (NZO, OA) ; Fra Melitone (Forza del Destino) OA; Scarpia (Tosca) WAO, OA; Tonio (I Pagliacci) NZO; Faninal (Der Rosenkavalier) OA; Schaunard (La Boheme) OA; Dr Schon /Jack the Ripper (Lul) OA; Germont (La Traviata) OA; Mandryka (Arabella) OA.
Warwick has delighted audiences in many comedic rôles, including Bottom (Midsummer Night’s Dream), Adelaide Festival; Barone di Trombonok (Viaggio a Rheims ) OA; Geronio (Il Turco in Italia) OA; Dr Bartolo (Barber of Seville) WAO, VOC; Pooh Bah (Mikado) ; Taddeo (Italian Girl in Algiers) NZO; Papageno (Magic Flute) OA; and many more.
Photo: As Alberich, in The Ring 2016, by Jeff Busby
Hans Sachs, Meistersinger. Melbourne Opera Company 2025.
'Strength and dignity'
'Galvanising and stirring work'
'Strength and dignity'
“The cast, which could not be faulted, was dominated by Warwick Fyfe’s Hans Sachs (his role début) and Christopher Hillier’s Beckmesser: cobbler and town clerk at their most crafty and vexatious, but also vocally strong and persuasive, as befits two of the more venerable master singers. Fyfe, who never tired, was the ideal Sachs, his crea
“The cast, which could not be faulted, was dominated by Warwick Fyfe’s Hans Sachs (his role début) and Christopher Hillier’s Beckmesser: cobbler and town clerk at their most crafty and vexatious, but also vocally strong and persuasive, as befits two of the more venerable master singers. Fyfe, who never tired, was the ideal Sachs, his creative poetic soul always sensed from a more rough-shod exterior. Were he an actual pair of shoes, they would be sturdy walkers rather than patent leather. Fyfe lent strength and dignity to his role, most of all in his Fliederand Wahn monologues, but also brought a touch of welcome vulnerability in his two lyrical encounters with Eva.” Michael Shmith, ABR 17/02/2025
Meistersinger photos by Robin Halls
'Spectacular'
'Galvanising and stirring work'
'Strength and dignity'
“Fyfe is spectacular, and the entire cast provide crisp and extraordinary singing that echoes magnificently in the spacious hall” Patricia de Risio, Stage Whispers. 17/02/2025
“Sachs is one of the great Wagnerian roles and it takes a singer of significant maturity and vocal power to do it justice. Since his huge triumph as Alberich in Oper
“Fyfe is spectacular, and the entire cast provide crisp and extraordinary singing that echoes magnificently in the spacious hall” Patricia de Risio, Stage Whispers. 17/02/2025
“Sachs is one of the great Wagnerian roles and it takes a singer of significant maturity and vocal power to do it justice. Since his huge triumph as Alberich in Opera Australia’s Ring Cycle in 2013, Warwick Fyfe has gone from to strength in major roles, including Wotan in Melbourne Opera’s recent Ring Cycle. The role of Hans Sachs seemed like a natural progression, and one that he has now performed with significant distinction. His voice was splendid in its power and beauty, conveying the sense of gravitas necessary for the role. Modern audiences might be shocked at the way Sachs beats his apprentice David, but the energy Fyfe put into the noisy shoe hammering as he tries to thwart Beckmesser’s designs on Eva were satisfyingly vicious. Sachs is a flawed character, but a formidable one.” Heather Leviston, Classic Melbourne . 28/02/2025
'Galvanising and stirring work'
'Galvanising and stirring work'
'Galvanising and stirring work'
“Act two draws the focus in more tightly, with revered Wagnerian expert Warwick Fyfe sharing a direct bond with audience as Hans Sachs reflects on Walther’s initial attempt at song in the Flieder monologue, “Was duftet doch der Flieder.” Fyfe’s meticulously calibrated, neatly understated performance of the epic role of Sachs continues acr
“Act two draws the focus in more tightly, with revered Wagnerian expert Warwick Fyfe sharing a direct bond with audience as Hans Sachs reflects on Walther’s initial attempt at song in the Flieder monologue, “Was duftet doch der Flieder.” Fyfe’s meticulously calibrated, neatly understated performance of the epic role of Sachs continues across acts two and three, his rich vocal expression deftly balancing Sachs’ curmudgeonly temperament with an underlying heart of gold. By the time the ensemble sings a tribute to the noble cobbler Sachs, the same sentiment could very well be applied to the galvanising and stirring work of Fyfe himself. “ Simon Parris, Man in Chair. 17/02/2025..
About Warwick
2025
Background & Education
Background & Education
16, 18, 20, 22 Feb. Die Meistersinger, Melbourne Opera Company. Royal Exhibition Building
https://www.facebook.com/share/v/rGsa6EpeEUWUgP5v/
14, 15 March Die Fledermaus. West Australian Symphony Orchestra
19, 23, 26, 29 July, 1, 5, 9, 11 Aug. Rusalka. Opera Australia. SOH
https://opera.org.au/productions/rusalka-sydney/
16, 18, 21, 23, 25 Oc
16, 18, 20, 22 Feb. Die Meistersinger, Melbourne Opera Company. Royal Exhibition Building
https://www.facebook.com/share/v/rGsa6EpeEUWUgP5v/
14, 15 March Die Fledermaus. West Australian Symphony Orchestra
19, 23, 26, 29 July, 1, 5, 9, 11 Aug. Rusalka. Opera Australia. SOH
https://opera.org.au/productions/rusalka-sydney/
16, 18, 21, 23, 25 Oct Trovatore. West Australian Opera Company
https://www.waopera.asn.au/shows/events/il-trovatore/
https:///media/xqgkstqs/opera-magazine-review-rusalka-wao-2024.pdf
3, 4 October, Verdi Requiem. Queensland Symphony Orchestra. QPAC.
13, 16 November, Siegfried. Sydney Symphony Orchestra. SOH.
30 Nov.
Photo: As Pizarro, in Fidelio. By Robin Halls.
Background & Education
Background & Education
Background & Education
Born: Canberra, Australia, 1969
Educated: Red Hill Primary School, Telopea Park High School, Narrabundah College, Canberra.
Canberra School of Music
Victorian College of the Arts (Opera Studio)
Victoria State Opera Schools Company 1992
Victoria State Opera Young Artist Program
Opera Australia Young Artist Program
Opera Australia Principal
Senio
Born: Canberra, Australia, 1969
Educated: Red Hill Primary School, Telopea Park High School, Narrabundah College, Canberra.
Canberra School of Music
Victorian College of the Arts (Opera Studio)
Victoria State Opera Schools Company 1992
Victoria State Opera Young Artist Program
Opera Australia Young Artist Program
Opera Australia Principal
Senior Principal Artist, Opera Australia
International Freelance Artist
Awards
Background & Education
Awards
Winston Churchill Fellowship; Helpmann Award; Green Room Awards; The Bayreuth Scholarship; Performing Arts WA award for outstanding achievement by an interstate artist; McDonald’s Aria; Heinz Australian Youth Aria; Leopold Julian Kronenberg Foundation Award (Stanislaw Moniuszko International Vocal Competition,Warsaw); Dame Mabel Brookes M
Winston Churchill Fellowship; Helpmann Award; Green Room Awards; The Bayreuth Scholarship; Performing Arts WA award for outstanding achievement by an interstate artist; McDonald’s Aria; Heinz Australian Youth Aria; Leopold Julian Kronenberg Foundation Award (Stanislaw Moniuszko International Vocal Competition,Warsaw); Dame Mabel Brookes Memorial Fellowship; The Austral SalonScholarship; The Mabel Kent Scholarship; Bayreuth Bursary
Photo: As Schaunard, in La Bohème
In Concert
Parsifal
Gurrelieder
Gurrelieder
"As the magician Klingsor, who was expelled by the Grail knights for his impure desires and established himself in the valley outside Montsalvat, Warwick Fyfe brought his unique combination of vocal and performance style to his villainous character (with Vincent Price coming to mind) in a magnificent display. With powerfully heated stento
"As the magician Klingsor, who was expelled by the Grail knights for his impure desires and established himself in the valley outside Montsalvat, Warwick Fyfe brought his unique combination of vocal and performance style to his villainous character (with Vincent Price coming to mind) in a magnificent display. With powerfully heated stentorian might, as if delivered from a smelter within, the energy that Fyfe delivered came skilfully forged and phrased, adding further weight to the heights he can reach after his excellent Alberich in Opera Australia's Ring." Operachaser, 11/08/2017
Gurrelieder
Gurrelieder
Gurrelieder
Under the baton of Maestra Simone Young.
“Australian bass-baritone Warwick Fyfe’s performance of a part that has been taken by actors like Werner Klemperer (son of the conductor, Otto) or by ex-singers (Schoenberg apparently mulled over the idea of a retired tenor) was magisterial – full of illuminating gesture and direct communication (h
Under the baton of Maestra Simone Young.
“Australian bass-baritone Warwick Fyfe’s performance of a part that has been taken by actors like Werner Klemperer (son of the conductor, Otto) or by ex-singers (Schoenberg apparently mulled over the idea of a retired tenor) was magisterial – full of illuminating gesture and direct communication (helping us to ‘see’, for example, the web that the summer wind tore away). Toward the end it was if Fyfe was longing to sing, a moving yearning that led logically into a powerful choral conclusion, testament to music’s ability to deliver the most decisively powerful climaxes.” Gordon Williams, Operawire. 24/03/2024
https://operawire.com/sydney-symphony-orchestra-2024-review-gurrelieder/#google_vignette
https://operawire.com/sydney-symphony-orchestra-2024-review-gurrelieder/#google_vignette
Fidelio
Gurrelieder
Fidelio
Under the baton of Maestro Ascher Fisch
“Warwick Fyfe is impassioned as the evil prison governor, joined by the 40-strong male members of the WASO chorus in his rousing introduction. His is a visceral performance. From the thump of his footsteps as he enters the stage, Fyfe’s performance supersedes the concert form, giving a peek into how
Under the baton of Maestro Ascher Fisch
“Warwick Fyfe is impassioned as the evil prison governor, joined by the 40-strong male members of the WASO chorus in his rousing introduction. His is a visceral performance. From the thump of his footsteps as he enters the stage, Fyfe’s performance supersedes the concert form, giving a peek into how this character could be played in a full production.” Leah Mercer, theconversation.com. 3/3/2020
“However, It's the villain of the piece, Don Pizarro, performed by Warwick Fyfe, who counters Libor's gravitas with wild fiendishness. He's an absolute menace, and uses his whole body to realise the character .... to make Pizarro behave and sound as odious as possible.” Broadway World . 1/3/2020
Wagneriana #1
Hans Sachs, Die Meistersinger von Nürnberg
“Making his role debut as Hans Sachs, veteran Heldenbaritone Warwick Fyfe triumphs. The stentorian voice; his suppleness of vocal line and the vast scope of coloration he achieves are
nothing short of astonishing. His stage presence as an actor alone would render his performance mesmerising but add this glorious voice and he is magnetic every time he takes the stage.” Gregory Pritchard, Concertonet. 22/02/25. Seen here with Lee Abrahmsen as Eva. Photo credit Robin Halls.
Wotan, in Der Ring des Nibelungen
“The singing was of a generally high order, led by Warwick Fyfe’s magisterial Wotan, a long way from his last seen (but equally effective) appearance as Bottom. He suggested a boss god genuinely challenged by the magnitude of the decisions demanded of him, and it will be interesting to see how this develops through the succeeding operas.” Sandra Bowdler, 25/-3/2023. Bachtrack. Seen here with Antoinette Halloran as Brunnhilde, and Valkyries..
https://bachtrack.com/review-rheingold-negus-chaundy-melbourne-opera-bendigo-march-2023
Alberich in Der Ring des Nibelungen
And into the history books Warwick Fyfe goes in accomplishing a feat of operatic strength and flexibility after demonstrating what a commanding Wotan he can portray in MOC’s Ring earlier this year and following up with a performance equal to the world’s best with his persistently parasitic and impactful Alberich. “ Paul Selar, Opera Today. 10/12/2023
“The singing was of a consistently high standard, with the Alberich of Warwick Fyfe particularly fine. His familiar, award-winning portrayal of this character was superb, the sudden moments of vocal beauty in his powerful singing giving the character unexpected but moving glimpses of a flawed and deeply buried humanity. “ Michael Halliwell, ABR. 4/12/2023
Wagneriana #2
Heerrufer, in Lohengrin
“Australian singers also hold their own, particularly Warwick Fyfe who has become a go-to for Wagner in this country. Suitably stiff and vocally declamatory as the Herald, he displays a sumptuous baritone that is only getting better with age.” Patricia Maunder, Limelight. 16/05/2022
Beckmesser, in Die Meistersinger
“Acclaimed baritone Warwick Fyfe has the role of his career in vexatious misanthrope Sixtus Beckmesser. Having stymied Walther’s attempt at being a mastersinger in act one, Sixtus returns to woo Eva for himself in act two. Gussied up in a jade robe and floral headpiece, Sixtus looks for all the world like a pantomime dame, and endures endless interruption from Sachs before finally breaking into his song. Along with well-judged moments of buffoonery, the comedy is all the more effective for Fyfe’s completely serious focus, and his singing, particularly when Sixtus is actually performing, is nothing short of glorious.” Simon Harris, Man in Chair. 14/11/2018
Daland, in Der Fliegender Holländer
"Australian baritone Warwick Fyfe, acclaimed in the 2013 Melbourne Ring Cycle, again proves his expertise singing Wagner. Fyfe is a lively Captain Daland, providing some welcome moments of levity when the captain’s avarice for jewels prompts him to quickly offer his daughter in marriage to the mysterious Dutchman." Simon Harris, Man in Chair. 2015