About Warwick

---

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

Siegfried, SSO

"“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 

Don't forget to check out my occasional Blog, at the very end of this  website. It contains information about my engagements, reviews, musings. 

PHOTO CREDIT:

Robin Halls

Queensland Symphony Orchestra

Under the baton of Maestro Umberto Clerici

“Baritone Warwick Fyfe was eminently suited to the role, his sonorous, robust tone as rich as figgy pudding. His rendition of the haunting Confutatis (When the Cursed) was magnificent, and the combination of his bass, the chorus and the trumpets during Tuba Mirum was thrilling.” Dr Gemma Regan, Limelight. 5/10/2025

Photo by Dr. Bruce Caldwell 

Sydney Symphony Orchestra

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

Sydney Symphony Orhestra

Under the baton of Maestra Simone Young

“Siegel’s might be a hard act to follow, but baritone Warwick Fyfe more than rises to the challenge as Mime’s brother Alberich. Here we have two of the world’s best Nibelung, and like Siegel, Fyfe has made his role his own (including during all three stagings of the Ring Cycle by Opera Australia in 2013 Both enunciate perfectly, extracting every ounce of textual information Wagner embedded in his libretto.

And most importantly, they rid the Nibelung of the farcical and antisemitic traits often imposed on them, restoring a gravitas that befits the race after which Wagner’s tetralogy is named. It is, after all, Alberich’s curse that propels the Ring Cycle to its inevitable conclusion.”

Jansson J Antmann. Limelight, 13/11/2025

2016 (https://limelight-arts.com.au/reviews/review-das-rheingold-opera-australia/) and 2023 (https://limelight-arts.com.au/reviews/das-rheingold-opera-australia/). 

(https://limelight-arts.com.au/reviews/live-review-with-video-das-rheingold-opera-australia/),