“Brandishing the role he was shut out from fulfilling when Covid restrictions prevented him from taking on Wotan in Das Rheingold, baritone Warwick Fyfe gives an indelibly monumental performance as the faithless king of the gods.
Fyfe marvellously evokes everything within to personify divinity wracked by human worry, his stentorian might parallelling the command he exudes and mellowing appropriately, making Wotan’s Act 2 monologue a powerful mirror on the god’s conflict over Siegmund’s fate and the ring’s curse.”
Limelight Magazine @limelightartsau
“After missing his chance to play Wotan in Das Rheingold due to quarantine complications, baritone Warwick Fyfe finally steps into those big boots. He has often shown his charming comic talents before, but here he conveys the frustration and sorrow of a mighty figure whose mastery is waning. Even in Wotan’s lengthy Act II exposition of the Das Rheingold backstory, Fyfe demands the audience’s attention with his voice’s power, rich tone and nuance, and assurance as an actor. His performance is particularly moving in the final scene, when Wotan reluctantly punishes and parts from Brünnhilde.”
The Age @theageaustralia
“The pairing of Fyfe and @zaradiva makes for some of the most poignant and emotive scenes in the opera as they provide the perfect balance for one another, baritone to soprano, father to daughter.”
Simon Parris man in chair
“A breakout star of Opera Australia’s 2013 Melbourne Ring Cycle, Warwick Fyfe graduates from the grasping Alberich to the mighty Wotan. Stymied by border restrictions last year, Fyfe’s appearance in Die Walküre is the jewel in the (very shiny) crown of this highly capable all-Australian cast. Winning the audience with a cheeky wink, so to speak, from Wotan’s one good eye, Fyfe swiftly goes on to establish the patriarchal god’s authority and wrath, along with his deep affection for his dear daughter, Brünnhilde. Fyfe commands attention as he sings with wonderfully sumptuous tone and compelling dynamics and expression”
The Spectator @thespectatoraustralia
The highlight of the evening however is Warwick Fyfe. He brought Alberich to flaming life in the Opera Australia Ring and he is a better Wotan than the Melbourne Opera has any right to dream of. He has a surging authority which is inseparable from his capacity to convey tension and self-division, so that his ‘Leb wohl’ is full of a subtle minimalist movement as the mist of flames surrounds the hushed body of his beloved daughter.
“Warwick Fyfe’s professional biography reads like a definitive list of opera performance in this country. His repertoire extends from Wagner to Rossini and encompasses appearances in Australia, Asia and Europe. From the moment of his vocal entry, Mr Fyfe commands the stage. Yes, Wotan is written to dominate, it is his purpose, but here we have glimpses into the mind of the man, snatches of “humanity” where he tears himself apart coming to terms with the loves and losses of his eternal life. Wotan under Mr Fyfe’s interpretation becomes a tired and care-worn father, husband, creator who can foresee the end for all of the gods and is almost accepting of the fact that his creations have spiralled out of his control. This is a resonant and compelling performance.”