Peter WEDD Tenor


"This Tristan is a triumph"
The Guardian

Recent engagements brought Peter Wedd as BORIS in ‘Katja Kabanova’ to the Opéra de Nancy, as PRINCE in ‘Rusalka’ to the Opera House Leipzig, as FLORESTAN in ‘Fidelio’ to the National Opera Wroclav. His debut in Germany he made as SIEGMUND at the State Theater Karlsruhe, LOHENGRIN he performed at the Greek National Opera in Athens and was celebrated as TRISTAN at the Longborough Festival.

His great successes in 2016 include TRISTAN in concerts with the Winnipeg Symphony Orchestra, FLORESTAN in a concert with the Paris Philharmonics, his debuts as the PRINCE in “Rusalka” at the Scottish Opera and as HERMANN in “Pique Dame” at the Holland Park Festival.

Only in 2013 Peter Wedd moved into the lyric Wagner repertoire and had his first great success singing the title role LOHENGRIN (Lothar Königs conducting) at the Welsh National Opera, for which he received outstanding reviews. He also sang SIEGMUND in ‘Die Walküre’ in Mexico with Jan Latham Koenig, TRISTAN in ‘Tristan und Isolde’ with Nicholas Braithwaite at the Picketts Festival, FLORESTAN in ‘Fidelio’ at Garsington Opera, and MATTEO in ‘Arabella’ at the Semperopera Dresden. Other engagements include LOHENGRIN at the Polish National Opera Warsaw under the baton of Stefan Soltesz, DON JOSÉ at the Welsh National Opera, PEDRO in James McMillan’s ‘Ines de Castro’ at the Scottish National Opera and HANS in ‘The Bartered Bride’ at the New Zealand Opera.

Peter Wedd studied at the Guildhall School of Music and Drama with William McAlpine, and subsequently at the National Opera Studio. He was a Company Principal at the Royal Opera House, Covent Garden where he sang several roles including Ywain Gawain and the Green Knight and KUDRJAS in Kat’á Kabanová.

At Welsh National Opera his many roles have included ALFREDO La Traviata, DON JOSÉ Carmen, TAMINO Die Zauberflöte, ERIK Der Fliegende Holländer. Other appearances in the UK have included Levko May Night (Garsington Opera), the Aldeburgh Festival, CHEVALIER DE LA FORCE Les Dialogues des Carmelites (English National Opera), LACA Jenufa (Glyndebourne On Tour), and DON JOSÉ Carmen (Opera North). Outside the UK, Peter has sung for the Nederlandse Reisopera (GIASONE Medée and FLORESTAN Fidelio), Opera Australia (GREGOR Makropoulos Case and LACA Jenufa), Bern Opera (LENSKY Eugene Onegin). Recently, he debuted with equal success as HERMAN in ‘Pique Dame’ at the Holland Park Festival.

Concert engagements have included Beethoven’s Symphony No. 9 with the Manchester Camerata, now released on the Avie recording label, and Mahler “Das Lied von der Erde” at the Edinburgh International Festival. The artist works with many major orchestras including the London Philharmonic, BBC Symphony, Royal Scottish National, Royal Liverpool Philharmonic, City of Birmingham Symphony and Netherlands Radio Philharmonic. Recordings include STEVA Jenufa, JACQUINO Fidelio, STEUERMANN Der Fliegende Holländer and CHEVALIER DE LA FORCE Les Dialogues des Carmelites, all for Chandos.

Future engagements bring him back to the Opera House Leipzig as PRINCE in „Rusalka“ and ALWA in“ Lulu“ as SIEGMUND he returns to Karlsruhe State Theatre and debuts at the Operahouse Frankfurt, HERMANN in „Pique Dame” he will perform at the Oslo National Opera and FLORESTAN in Fidelio at the Opera House Bilbao.


Opéra National de Lorraine – Katja Kabanova - BORIS
Peter Wedd in the ambivalent role of Katia’s lover, who to her personalizes hope, alternates between tenderness and intensity… unceasingly sounding rich and bold, even when he had to make himself audible from backstage, since the staging strongly restricted the singers. His farewell from Katia for instance only shows in her delusional fantasy, when she is alone on stage. Not one false note was heard from the carefully chosen cast, the Opéra National de Lorraine was able to find. This cast was perfect, even in the smallest roles.
The tenor Peter Wedd is a touching Boris. His rich, perfectly focused und powerful timbre articulates without any difficulties the Czech diphthongs and almost makes the “I” chink.
Peter Wedd (Boris) uses his entire passion and exigence in the expression of his interventions.
Forum Opera
Oper Leipzig - Rusalka - PRINZ
The thoroughly convincing ensemble, headlined by…. the only guest singer Peter Wedd in the role of the Prince, vocally secure, especially in the high registers.
Joachim Lange, Oper! Das Magazin / Februar 2018
The entirely convincing ensemble was led by….., Peter Wedd as the Prince, who proved to be consistent especially in the high registers… . At the end: unanimous cheers to all artists!
Here we can see a prince out of a fairy tale book: strongly build with long, blond hair and a crown. At the end he returns to the pond to seek Rusalka, looking decades older, totally insane with shaggy hair, a grey beard and dirty clothes. Peter Wedd sings the role with enjoyably timbred tenor voice, not too huge but nicely led and never pushed: an outstanding performance!
Der Opernfreund
Longborough Festival – Tristan und Isolde - TRISTAN
…his Tristan was astonishingly energetic and mirrored Negus’s account of the score. It was almost as if this Tristan was Siegfried’s son. His dark-hued timbre does not always allow him the line one might ideally wish, but he definitely sings all three acts without straining or barking at any point. Wedd is passionate and accomplished throughout, and in Act III is astonishingly compelling and explores Tristan’s delirium with a vocal and dramatic freedom I haven’t since I saw René Kollo’s final Tristan performance in Berlin in 2000..
Seen and Heard international
Peter Wedd (pictured right) is likewise more volatile from the start than the usual impassive, courteous delegate (his initial “Was ist? Isolde?” had one almost jumping out of one’s seat). His is a Tristan palpably on the verge of a forbidden love, and petrified of the fact. Out of this portrait there develops a nearly unbearable intensity in the subsequent acts, an intensity of a kind perhaps only really achievable in an intimate theatre. The second act love duet is almost embarrassing in its proximity, as if one were eavesdropping on something too personal for public display. And Wedd’s third act delirium, magnificently sung, has an immediacy I’ve rarely experienced in this often wearisome monologue.
Peter Wedd’s Tristan was equally impressive, building on his fine Lohengrin for WNO some years back. This Tristan was a relatively youthful figure with a baritonal heft that at times recalled the young Peter Hofmann. Wedd’s acting has an appealing stillness, particularly in his confrontation with Isolde in Act 1, and he was fully equal to the challenge of the Act 3 delirium – a hurdle at which many previous Tristans have fallen – making us idenitfy with the character’s agony (“I yearn to die, yet yearning makes me live...”).
On first-night Wedd’s singing was heroic and tireless, and the final Act must count as this already-superb Wagner-tenor’s finest achievement, on top of which he delivers Tristan’s madness with a truly distressing realism. Bisset’s soprano had the penetration, lyricism, range and volume to encompass Isolde’s imperious will and extreme vulnerability in Act One and, with Wedd of course, a sensationally erotic love-duet in the next one; they practically devoured each other, matched by singing of sublime tenderness and volcanic passion.
With Peter Wedd’s strongly sung Tristan…
Theater Krefeld-Mönchengladbach - LOHENGRIN
In the title role: PETER WEDD. The British tenor already performed on numerous stages in England. Having started his career with mainly lyrical parts, he meanwhile acquired the dramatic repertoire, which also includes theworks of Wagner. In 2013 he sang his first Lohengrin at the Welsh National Opera. In the meantime he has even sung Tristan. In Krefeld he proves that his still has a high vocal flexibility, But he also has an enormous tenoral muscle power. Scenically he has a pleasant, slender appearance and impulsive acting.
Der neue Merker
Keyword "guest performers": For the giant role of ‚Lohengrin‘ one had succeeded in engaging the great rising Wagner tenor Peter Wedd- he only sings the Wagner repertoire since 2013 -. A clever decision, as Wedd’s voice is still fresh and it has the necessary lyrical emphasis, the role requires.
Der Opernfreund
Guest tenor Peter Wedd, who brilliantly masters the title role, vocally meets all challenges with his brightly shining tenor voice. Optically also, he is a true Wagner hero.
Westdeutsche Zeitung
In Peter Wedd the Krefeld/Mönchengladbach Theatre has found a handsome ,perfectly listenable Wagner tenor, whose brilliancy remains unaffected until well beyond the Grail Narration.
RP Online
Philharmonie de Paris - Fidelio - FLORESTAN

And here we get to the point. In Paris, I got a nearly perfect Florestan. This role requires something apparently impossible: the combination of a dramatic voice with a narrative suggesting that we are dealing with a person in agony, nearly starved to death and tormented by hallucinations. Peter Wedd reconciled all of these characteristics with brilliant technique and the peculiar timbre of his tenor instrument. He led out with a short crescendo on the note G in the initial 'Gott!' from the recitative in Act II, in the blink of an eye exploding in a complaint addressed to God. The phrase 'Welch' Dunkel hier' was sung pianissimo, broken by despair. In the aria, beginning in the key of A-flat major - and therefore extremely uncomfortable for the voice - he moved through every shade of hope, desperation and ardent longing. If anyone thought that Wedd was carried away by emotion in the final segment of the poco allegro, they quickly changed their mind upon hearing the initial phrase of the trio 'Euch werde Lohn in besseren Welten' - in its intensity of lyricism exceeding the most brilliant renditions of past masters, chief among them Ernst Haefliger. And then Wedd took on the duet 'O namenlose Freude', in which the tenor normally does not keep up with the soprano. This time, it was the other way around - Rebecca von Lipinski was not able either to carry over the orchestra, or to equal the intensity of Florestan's fiery singing. The fluidity of the legato and precision of the articulation in the fast passages in this fragment attest to total mastery of vocal technique - especially with such extensive volume as this singer presently has at his disposal.

After the ecstatic finale, there was an explosion of applause the likes of which I had not seen in a long time - and that, not only on Polish stages. I closed my eyes and imagined that time was circling around: that Wedd had gotten Leonie Rysanek or Christa Ludwig as a partner. One can always dream. For the moment, I will just quietly recall that our Paris Florestan also has Parsifal in his repertoire. And then wait for some opera house director to take that into account.
Scottish Opera - Rusalka - PRINCE
The great revelation, however, was Peter Wedd. ...Wedd has a feel for Dvořák's peculiarly 'Slavic' phrasing, and his breathingtechnique works perfectly: he does not attack the high notes, but rather draws them out gradually, according to the logic of the musical process. His greatest asset is a secure, golden middle range, from which he fluidly,almost imperceptibly moves into other registers. One has to be a first-rate artist to sing this role at all - Wedd has polished it in its tiniest details, chiseling the individual sentences like a woodcarver. Hearing his'umírám ve tvém objetí', not a few of his professional colleagues would turn green with envy.
No such problems for Peter Wedd, who seems to be developing into the best Heldentenor that Britain has to offer. He attacks the role with all the Wagnerian ardour it requires while never sounding pressed, and he marries this with golden beauty that sets his interpretation apart as special.
There are tremendous performances across the piece, not least from Willard White (a powerfully anguished Vodník) and Peter Wedd (a hapless and, ultimately, tragic, Prince).
The Daily Telegraph
Welsh National Opera - LOHENGRIN
Peter Wedd was every inch the enchanted outsider. The effect was magical and this was enhanced when Wedd sang the farewell to the swan, producing some of the most enchanting Wagner singing I have ever heard in a long time.
Peter wedd created a strong sense of ‘the other’, the strangeness of this knight from a foreign realm. At key moments his voice was suitably dramatic, the essential core of his voice has interesting dark, almost baritonal elements which are helpful in Wagner roles. In act 2, now equipped in a suit and properly fitting great-coat and shoes, he was properly authoritative. In the narration in act 3, the moment in the opera which is a true test of a tenor’s stamina, he was spellbinding. He started it as just an intimate talk with Elsa but slowly Wedd’s performance grew in power and intensity, to a thrilling climax.
Opera today – Robert Hugill
Peter Wedd as the title character showed an impressive palate of vocal colours. He was most impressive in the softer moments from his very first words, tenderly thanking his swan. The more heroic passages were by no means disappointing, but the emphasis on Lohengrin’s gentler aspects was fascinating. His dismay at Elsa’s succumbing to Ortrud’s plot and asking his name was beautifully moving. He walked barefoot, perhaps highlighting his otherworldliness.
Backtrack - Rohan Shotton
Peter Wedd is, in appearance, a surprisingly mature Lohengrin, but his authority, vocal and as a presence, made his portrayal as convincing as any I have seen...
The Spectator - Michael Tanner
Longborough Festival - Tristan und Isolde - TRISTAN
Peter Wedd’s Tristan is in almost every way superb: statuesque and chilly in the early scenes, pulsatingly emotional to the point of disintegration thereafter, but never losing control of his fine, slightly dry tenor. I’m largely immune to the rantings of the final act (and find its music, after the prelude, not much better than expert), but was riveted by Wedd’s musical portrait of deranged passion.
Theatre Desk
Garsington Opera - Fidelio - FLORESTAN
Wedd’s unstrained vocal security at the opening of Gott! Welch Dunkel hier! was particularly welcome. His subsequent clarity of diction and security of tone were maintained to the end, with his acting matching his singing…
Seen and heard International
Peter Wedd was an admirable Florestan, defiant and other-worldly in spirit, even if he has resigned his corporal existence to the ashes.
Classical source
…while tenor Peter Wedd was mesmerising as the suffering Florestan.
Peter Wedd sang Florestan with truly heroic tone and unflagging line, his phrasing and manner ideally direct; he was absolutely believable as a starving prisoner, which is no small feat when you have to belt out an aria like ‘In des Lebens Frühlingstagen.’
Badisches Staatstheater Karlsruhe – Die Walküre – SIEGMUND
Badisches Staatstheater Karlsruhe – Die Walküre – SIEGMUND
Oper Leipzig - Rusalka - PRINZ
Foto: Kirsten Nijhof - Oper Leipzig
Longborough Festival – Tristan und Isolde - TRISTAN
Theater Krefeld-Mönchengladbach - LOHENGRIN
Theater Krefeld-Mönchengladbach - LOHENGRIN
Griechische Nationaloper Athen - LOHENGRIN
Staatstheater Karlsruhe - Die Walküre - SIEGMUND
Staatstheater Karlsruhe - Die Walküre - SIEGMUND
Foto: Falk von Taubenberg
Scottish Opera - Rusalka - PRINCE
Welsh National Opera - LOHENGRIN
Welsh National Opera - LOHENGRIN
Longborough Festival - Tristan und Isolde - TRISTAN
Longborough Festival - Tristan und Isolde - TRISTAN
Garsington Opera - Fidelio - FLORESTAN