Corby WELCH  Tenor


‘Among the singers the casting of CORBY WELCH as Siegmund is a real sensation…’

Since 2018 the American tenor made successful debuts as SIEGMUND and SIEGFRIED in the RING DES NIBELUNGEN at the Rheinoper Düsseldorf. In 2023 he had his spectacular debut here as PAUL in “Die Tote Stadt” here and he also returned as SIEGMUND and SIEGFRIED to the Rheinoper Düsseldorf. Recently he debuted as ALWA in “Lulu” at the Heidelberg Theatre and as PARSIFAL at the Hagen Theatre.

In the season 23/24 he can be seen as SIEGMUND at the Oper Leipzig Opera , as TANNHÄUSER at the Meiningen State Theatre and the Karlsruhe State Theatre. He sings Mahler’s DAS LIED VON DER ERDE with the Kosice Philharmonic Theatre and TRISTAN 2nd act with Maestro Ádám Fischer auf on a Tour in Spain.

His engagement as PAUL in Korngold’s “Die tote Stadt” at the Rheinoper Düsseldorf was postponed to the season 22/23 because of the COVID 19 pandemic. Mahler’s DAS LIED VON DER ERDE at the Opéra de Toulon was canceled..

Korngolds Die Tote Stadt , in der er erstmals den PAUL an der Rheinoper Düsseldorf singen sollte, wurde Corona-bedingt auf die Saison 22/23 verschoben, Mahlers DAS LIED VON DER ERDE an der Opéra de Toulon wurde abgesagt.

At the Budapest Wagner Days he could be seen in 2021 in a gala concerts with excerpts from TRISTAN UND ISOLDE. He enjoyed huge successes with his first TANNHÄUSER at the Riga National Opera, where he also succeeded in 2019 as ERIK in a new production of “Der Fliegende Holländer” and as TRISTAN in a concert performance of the 2nd act.

Since 2011, Corby Welch has established himself as one of the promising new dramatic tenors singing ERIK in “Der fliegende Holländer” in Düsseldorf, at the Riga National Opera, the Opéra de Wallonie in Liège and the Braunschweig State Theatre, LOHENGRIN in Düsseldorf/Duisburg, Magdeburg and in concerts at the Neuschwanstein Castle or debuting as LOGE in “Das Rheingold” at the Grand Théâtre de Genève.

Corby Welch started his career as a lyric tenor with engagements at the Hamburg State Opera, the Aalto Theater Essen, the Teatro Nacional de São Carlos in Lisbon, in Modena and Ferarra. He performed at the Music Festival Schleswig Holstein, the Rheingau Music Festival, the Schwetzingen Festival and the Ludwigsburg Castle Festival.

From 2003-2017 Corby Welch was a member of the Deutsche Rheinoper Düsseldorf/Duisburg ensemble, where he had the opportunity to develop his repertoire. In the first years he mainly sang major roles of the lyric repertoire such as BELMONTE , TAMINO, DON OTTAVIO, TITO and later the PRINCE in “Rusalka”, MATTEO in “Arabella,” KAISER in "Frau ohne Schatten," and the title role in PETER GRIMES. Lately, he could be seen as PINKERTON, BACCHUS, the TAMBOURMAJOR, SIEGMUND and ERIK.

Recently, he also impressed in the title role of William Bolcom’s “ McTeague” at the Opera House Linz . Besides, he performed in Munich in Loriot’s “Ring in one Evening” at the Philharmonie am Gasteig and portrayed PYLADES in Gluck’s “Iphigénie en Tauride” in Hong Kong, PETER QUINT in “Turn of the Screw” in Taiwan, ZEN in Elliot Carter’s opera “What Next," and the Missa Solemnis and Beethoven’s 9th Symphony at the Cologne Philharmonic.

Concert and operatic engagements have brought Corby Welch to collaborate with conductors such asIngo Metzmacher, Kent Nagano, Sir Neville Marriner, Wolfgang Sawallisch, Axel Kober, Ádám Fischer, Semyon Bychkov, Marek Janowski, Eije Oue, Michael Schoenwandt, John Mauceri, Zoltán Peskó, Helmuth Rilling, Thomas Hengelbrock, Frieder Bernius, Alessandro De Marchi, Daniel Reuss, Christoph Spering, Stefan Herheim, Dietrich Hilsdorf, Tatjana Gürbaca, Dieter Dorn.

He performed with orchestras and ensembles such as the German Symphony Orchestra Berlin, the Hannover Radio Orchestra, the WDR Symphony Orchestra Cologne, the Berlin Radio Orchestra (RSB), the Danish National Radio Symphony Orchestra, the Orchestra of the Accademia di Santa Cecilia, the Orchestre Philharmonique de Radio France, the International Bach Academy, the RIAS Chamber Choir, the Balthasar- Neumann- Ensemble, the Stuttgart Chamber Choir and many others.

His vast concert repertoire includes works by Beethoven, (9th Symphony and Missa Solemnis) Bach’s and Haydn’s Passions but also Oratoria and contemporary music by Krzysztof Penderecki, Sofia Gubaidulina, and Wolfgang Rhim. Concert engagements brought him to France, and Italy, the Stuttgart European Music Festival and the Bach Festival in Oregon.

Corby Welch is also a much sought-after Lied singer. In the last few years he sang a,o. Janàcek’s "Zápisník zmizelého" (Tagebuch eines Verschollenen), Britten’s "Winter Words" and "Eight Songs for Tenor and Harp," Finzi’s "Young Man's Exhortation," Schubert’s “Die schöne Müllerin,“ Schumann’s "Dichterliebe," Liederkreis op. 24, "Minnespiel op. 101," and "Myrten".

Recently, he interpreted Britten's “War Requiem” at the Kassel State Theatre,“Elijah” in Bremen (Glocke), “Paulus” in Milano, the St. Johns Passion with the Gütersloh Bach Choir, the St. Matthew Passion with the Lahti Symphony Orchestra, Mahler’s “Lied von der Erde” in Buffalo, New York and Basle, the 2nd act of TRISTAN AND ISOLDE in Taiwan and Listzt’s FAUST Symphony in Giuyang, China. Moreover, he performed at the renowned Eclat Festival of New Music in Stuttgart in a world premiere with the Stuttgart Radio Symphony Orchestra.

Corby Welch can be heard on numerous broadcast and CD recordings including Haydn‘s “Theresia Mass”(Hänssler) and Gubaidulina’s “Passion of St. John and Resurrection” with Helmuth Rilling, Meinardus “Luther in Worms”with Hermann Max (CPO), Reichas” Leonore” with Frieder Bernius (Orfeo), und Hindemiths “Lange Weihnachtsmahl” mit Marek Janowski (Wergo).

Lately, he portrayed BACCHUS, PETER GRIMES and the DRUM MAJOR in Düsseldorf and sang TANNHÄUSER in a new production of the Weimar National Theatre and at the Talliin National Opera. He sang the LIED VON DER ERDE in Paris, Bilbao and San Sebastian, the GURRE-LIEDER in Vilnius , the 9th symphony at the Cologne Philharmonics and the DREAM OF GERONTIUS at the Zürich Tonhalle.


Düsseldorfer Symphoniker – Tristan und Isolde konzertant - TRISTAN
I thoroughly enjoyed Corby Welch's Tristan, who was the undisputed star of the evening. The American has a great fiato that allows him to deliver long, richly nuanced phrases. He has good power and excellent support, enabling him to provide a steady timbre even in melodies with such wide registers as in the "So starben wir, um ungetrennt". He worked well with Köhler, though the latter struggled to match the tenor in vocal presence.
The cast assembled for the occasion was more than reliable, with the leading pair standing out: (...) and on the other the American tenor Corby Welch, secure and firm, at ease in the higher tessitura and with a good dose of lyricism. His duet, in the central section of the second act of Tristan und Isolde, was undoubtedly the highlight of the evening.
Platea Magazine
Oper Leipzig – Walküre - SIEGMUND
Corby Welch effortlessly sings the role of Siegmund. All the notes are in place. His condition is impressive.
Der neue Merker, 02/2024 Christof Suhre
Staatstheater Meiningen – Tannhäuser - TANNHÄUSER
Il tenore Corby Welch è stato un convincente protagonista, che ha saputo mantenere intatta la saldezza vocale nell’intero arco della serata.
Detto che il coro di Meiningen ha un appiombo e un amalgama non inferiori a quelli orchestrali, resta da parlare dei solisti: tutti appartenenti alla compagnia del teatro, ad eccezione del guest singer protagonista. Corby Welch forse non vanta quello spessore massiccio abbinato al metallo rifulgente che la tradizione richiede all'Heldentenor wagneriano, ma domina tutta la scrittura – dal cantabile arioso al declamato frantumato – arrivando a fine recita senza affanni o inciampi. Il suo è un Tannhäuser sagacemente ribaldo, d'un sarcasmo quasi teppistico: in questo certo discostandosi dagli interpreti storici di questo ruolo, ma rendendo la natura del personaggio storico, se vogliamo basarci sui sensuali e beffeggianti versi dugenteschi del vero Tannhäuser (o comunque a lui attribuiti).
Bellini News
Rheinoper Düsseldorf-Duisburg - Die tote Stadt - PAUL
Above all Corby Welch in the role of Paul is particularly worth mentioning. With his slightly dark, brilliant tenor voice, for which he is regularly hailed also in the huge Wagner parts, he gives the widower tremendous force and a level of charisma, which makes the character interesting in spite of all its peculiarity. Moreover, he has enormous vocal reserves, which seems to allow him to effortlessly overtone the roaring orchestra without ever being noisy. Also the quiet notes are melodiously sung.
Das Opernglas 9/1023 Th. Molke
There are very few singers who can handle the murderous part of Paul. It is considered to be perhaps the most difficult and exhausting tenor role of all. Corby Welch triumphs with an unusually large vocal range. Amazing how much he can take in one breath. With his warm, flexible voice, an unbroken intensity, dramatically blossoming tone of touching depth of soul and beauty of sound, with his technical brilliance, he is the star of the evening. He has seemingly inexhaustible reserves. His identification with the role and his vocal performance make you shudder.
Corby Welch with his powerful physical presence portrays Paul as a sensitive romantic, but also as a quick-tempered choleric type, even a murderer, who grows on the high demands he places on himself. “The tenor part requires similar power as needed for the part of Wagner’s Siegfried, yet the part is much more exposed and partially significantly higher, which has to be balanced out most carefully. “ Axel Kober says. In which he and Corby Welch succeeded in the fullest extent. Musically, but also because of the sheer dramatical extent of the role , Paul’s part is one of the most demanding for tenors. Corby Welch is a phantastic actor and what’s more he develops enchanting lyrical cantilenas and heroic outbursts. His delicate piani and peaks can be heard even in the furthest corner of the house.
Ursula Hartklapp-Lindmeyer, 18.04.2023, Das Opernmagazin
Corby Welch’s portrayal of the heartbroken widower Paul is outrageously intense. Welch imparts both: the attitude of a Man of Sorrows and rutting lust. Each phrasing is carefully considered. The enormous force in the forti correspond with the piani, which can be heard even in the furthest corner of the house.
In this production the character of Paul who mourns for his deceased wife Marie, is a puppet maker, who wants to create an exact copy of his lost love – a madman so to say, a psychopath. Truly beyond compare! With his slightly timbred brilliant tenor voice, Corby Welch gives the role enormous vehemence creating such a charisma, that makes the character interesting in spite of his peculiarity. This Paul, who by the way can also sing melodious soft tones, is a possessed. “…”This makes “Die Tote Stadt” superb listening theatre with a terrific Corby Welch in the leading role.
This time in Düsseldorf, where they have a marvelous Paul art their disposal. In fact, Corby Welch is a little bit too much of a heroic tenor, but the part of Paul is rather a kind of a Tristan part , containing too many demands for one person only. The singers, who are best up to these moments of musical history are heroic tenors: Corby Welch blares indeed, but with good taste, with beautiful high registers and a long breath.
Frankfurter Rundschau
Pfalztheater Kaiserslautern – TANNHÄUSER
In the title role Corby Welch shines with a concise, intense role design. His heldentenor voice fascinates by its superb tonality, perfect declamation , a beautiful timbre and brilliant stentor tones in the first two acts. Insistently, delicately nuanced, beautifully restrained, desperate with tenorally colored expressiveness, the singer presented the touching Rome Narrative and the shocking final.
Der neue Merker, 11/2022, Gerhard Hoffmann
Staatstheater Kaiserslautern - Tannhäuser - TANNHÄUSER
Fortunately, the musical component offered some impressive highlights. Brilliant : Corby Welch with a concise, intense role design in the title role. During the first two acts his heroic tenor voice with its sublime tonality, its perfect declamation and beautiful timbre impressed with powerful stentor sound. But there is more to Welch. His vocal psycho study in the third act went downright under one’s skin. His touching Rome Narrative as well as the shocking final scene were forceful, delicately nuanced, wonderfully restrained and desperate in tenorally colored expressiveness.
Online Merker
Pfalztheater Kaiserslautern - Tannhäuser - TANNHÄUSER
Especially Tannhäuser. Corby Welch turns the title figure into a real butthead, who is ruthlessly hassling and harassing women during the Sängerkreis to convey his idea of love. Yet, at the same time the American tenor gives a sensational vocal performance in this role, which is definitively the most difficult of all Wagner parts. He can be both a lyrical tenor and a heroic tenor. One does perfectly understand every word he sings and he also dares to subordinate cantability to extreme expression. Some parts of his „Rome Narrative“ in the final act, he just speaks or screams, but in a way, it truly gets under your skin.
10.10.22, Die Rheinpfalz
Festspiele Heidenheim – TANNHÄUSER
In this extremely demanding part, Corby Welch showed at first a few signs of strain. Yet soon, he powerfully impressed by his enormous perseverance, sovereign high notes and a fantastic Rome Narrative in the last act.
Bettina Schröm – Südkurier
Tannhäuser jedenfalls wird’s irgendwann „zu viel“. Für einen Hochleistungserotiker hätte man ihn jetzt auch nicht gehalten. Ein Künstler halt, der sich hat gehen lassen. Corby Welch gibt ihn im Adidas-Schlabberlook und mit Mut zum Bauch. Ansonsten spielt der Tenor nicht nur grandios, er singt diese geradezu mörderische Partie mit großem Stehvermögen, teilt sich seine Kräfte klug ein, ohne ein reiner Kraftmeier zu sein, gestaltet, was er singt, höchst glaubhaft, und bewahrt auch in wenigen brenzligen Momenten die Ruhe, um Töne sauber nachzuschärfen. Eine beeindruckende Vorstellung.
Manfred F. Kubiak, 2.7.2022, Heidenheimer Zeitung
Anyway, it gets all too much for Tannhäuser. One doesn’t really regard him to be the type of a high-performance eroticist. Corby Welch plays the figure in baggy Adidas clothes, daring to show his belly. Besides, the tenor does not only play superbly, he also sings this downright murderous part with plenty of stamina, smartly pacing himself without being a mere bruiser. What he sings, sounds very credible and even in the few tricky moments he is still calm enough to neatly resharpen the notes. A most impressive performance.
Manfred F. Kubiak, 2.7.2022, Heidenheimer Zeitung
Corby Welch in the title part has a powerful tenor voice,... Scenically, he leaves nothing to be desired und portrays Tannhäuser as a restless soul. In the huge “Rome Narrative“ in the 3rd act he is particularly impressive.
Theater Hagen - Parsifal - PARSIFAL
Corby Welch sings the title part with a powerful heroic tenor voice. Dramatically, he undergoes a credible change from a mere fool to e new emperor, having become knowing through compassion.
Th. Molke – Oper Magazin
The way Kundry and Parsifal circle one another at first, fighting one another and at least in the second act still missing each other, is convincingly played by the rule debutants Corby Welch and Angela Davis... Corby Welch equally cleverly disposes his dramatical outbursts. At the beginning of the evening he is concentrated but not loud, just to express later distressingly and shockingly his outrage about his gained knowledge and his own weakness in „Amfortas, du Wunde!!“
Uwe Friedrich - Opernglas
Sung by guest singers were the title part, in which Corby Welch, who perfectly fits in the total sound with his flexible tenor voice which is secure in the high registers but doesn’t sounds too heroic;…
Theater Hagen - Parsifal - PARSIFAL
The American tenor Corby Welch presented himself, after having overcome a recent illness. As Parsifal Welch is an antihero, a kind of guy with whom nobody wants to play at school.. Unshaved and amazed, he stumbles into his fate. However, he performs his transformation from a dim-witted fool into a compassionate man with beautiful tenoral highlights. Parsifal is a role , which demands from a tenor not only charisma but also Italian lines.
The title part was portrayed by the guest singer Corby Welch, who was a member of the Deutsche Oper am Rhein ensemble for many years. He puts the lyrical content in focus and particularly in the first act, he presents Parsifal as a defiant child. He cleverly paces himself, so that he is able to present some impressive tones in the decisive passages in the 2nd act.
Der Opernfreund
Duisburger Philharmoniker – SIEGFRIED
Corby Welch, who managed to perform the entire challenging part with a perfectly focused, striking heldentenor voice, secure in the high registers, turned out to be a stroke of luck for this Siegfried production. The powerful, dramatical outbursts were just as perfectly sung as the gentle, lyrical passages. Most of all the brilliantly sung sword and forging songs are particularly impressive, but Welch also succeeds in singing an absolutely sensitive and poetical Forest Weaving. One would love to see this singer Bayreuth!
Der Opernfreund
Theater Heidelberg – Lulu - ALWA
Another guest was Corby Welch as an almost too tenor- substantial Alwa.
OPERNWELT 03/22 , Götz Thieme
His son Alwa is sung by Corby Welch with a wonderful, soft but yet dependable heldentenor voice.
Online Merker
In the final scene, his composing son (Corby Welch)really gave his all.
The singers James Homann (convincing Dr. Schön), Joao Terleira (melodious Maler), Zlata Khershberg (very nobly timbred countess) Wilfried Staber (gruff Schigolch), Corby Welch (brilliant Alwa) and .... are very convincing in their often high regsitered parts.
Schwetzinger Zeitung
Despite his opulent tone, Corby Welch‘s Alwa was at all times subtle and full of nuances. Respect!
Das Ensemble is excellent without any exception, especially ... and Corby Welch’s flexible- melodious Alwa.
CD Der Ring des Nibelungen – Deutsche Oper am Rhein/ Duisburger Philharmoniker under the direction of Axel Kober – SIEGFRIED (Avi Musik)
Among the main roles I am especially taken with Corby Welch’s Siegfried, sung with enough subtlety as well as stamina to reserve some wit and rounded cantabile for his first encounters with Brünnhilde and the Rhinedaughters.
Klassik Open-Air Duisburg
The Deutsche Oper am Rhein shines with its vocally strong soloists: with his brilliant voice the Heldentenor Corby Welch sings out „O namenlose Freude“ from „Fidelio“.
Nationaltheater Weimar – TANNHÄUSER
"In this Weimar production, Tannhäuser was portrayed by the American tenor Corby Welch. Here we see a leading representative in his field, who rightfully deserves the title of Heldentenor. In the performance, Corby Welch demonstrates how important it is for a Wagner tenor to sing the score true to the original, with expression, huge volume and tenoral brilliance. Whereas other singers of this genre abbreviate note values, withdraw their volume or vocally overtax themselves, Corby Welch shows no deficits whatsoever. His Tannhäuser is emotionally and vocally constantly present. Besides, he uses a clear declamation of the text to underline the singing effect. With passionate tone, Corby Welch sings his Praise of Venus in the first act „Dir töne Lob Die Wunder sei’n gepriesen, die deine Macht mir Glücklichem erschuf ….“ and „Dank deiner Huld Gepriesen sei dein Lieben Beglückt für immer, wer bei dir geweilt“ and „Stets soll nur dir, nur dir mein Lied ertönen Gesungen laut sei nur dein Preis von mir“ with the concluding request to let him go, resulting in an enormous heightening towards the end. … After the Praise of the Love and the Goddess of Love at the end of the contest, Corby Welch succeeds in convincingly ringing in the conversion, pain and desperation about what has happened to Tannhäuser. He increases Tannhäuser’s inner emotions with en enormous expressive vocal volume, as in the Cry for Mercy in the second act „O du, hoch über diesen Erdengründen, die mir den Engel meines Heils gesandt, erbarm dich mein, der ach so tief in Sünden, schmachvoll des Himmels Mittlerin verkannt“ The highlight of Tannhäuser’s part is the “Rome Narrative”, which Corby Welch sings on the highest level. Sublimely, he masters the vitally important change of the vocal sound in the Story of his Pilgrimage up to his desire to return to the Venus Mountain. A grand representative of his field, who truly knows Richard Wagner’s requirements of the characters in his operas and who surely knows how to realize them. A fantastic performance.
Das Opernmagazin
Rheinoper Düsseldorf-Duisburg - Götterdämmerung - SIEGFRIED
"Heldentenor Corby Welch was the one to sing a role of this tricky repertoire on this evening. Proudly, he followed in the footsteps of a series of former heroic tenors, the Duisburg Manfred Jung, Peter Hofmann and Siegfried Jerusalem. Successfully!... Corby Welch’s well-timbred tenor voice has bright brilliance in the high registers, which wasn’t even heard at the green hill of Bayreuth lately. In every register he still had enough space – a Siegfried to dream of. As if the role was especially created for him. With Siegfried’s pubescent easiness and his asking voice, Welch didn’t press the tones, but gently and touchingly revealed the singer’s emotional state to the audience."
"In these last 16 years, in which Corby Welch has been singing at the Rhine Opera, he has made a considerable development. Having started as a Mozart interpreter , he now has grown into a heldentenor. His voice still has this lyrical core, bus simultaneously it has gained the necessary force. With a healthy technique Corby Welch also manages the tricky parts of the role."
Rudolf Hermes
Rheinoper Düsseldorf-Duisburg - Ariadne auf Naxos - BACCHUS
Corby Welch had the onerous task of portraying Bacchus. Brilliantly – and very loudly – he worked himself through the part. This tenor’s singing was excellent. A tenor who really knows how to sing Bacchus.
Opera Magazine
Rheinoper Düsseldorf-Duisburg - SIEGFRIED
Tenor Corby Welch filled his part as Siegfried not only with vocal qualities With his acting he also brought Siegfried to life. Almost effortlessly he mastered the title part, which is, due to its enormous stage presence, a real challenge.
Rundschau Duisburg
Nationaloper Weimar – TANNHÄUSER
The America tenor Corby Welch as guest singer in the title role was vocally just as well-balanced, fit and authentic as the baritone Uwe Schenker-Primus as Wolfram von Eschenbach.
BR Klassik
Corby Welch in the title role was very impressive.
Thüringer Allgemeine
The highlight of the evening was Corby Welch, who plays the exhausting title role with mere limitless, lyrical reserves.
The Tannhäuser of Weimar, Corby Welch, is one of these tenors, whose mere appearance is worth visiting the performance.
Rhine Opera Düsseldorf – Die Walküre – SIEGMUND
Corby Welch, who comes from the lyrical repertoire and gradually changed into the heldentenoral repertoire, has a brilliant, shining tenor voice that has enough metal to survive the “Wälse” cries. He is a Siegmund, the audience is fond of straightaway. He perfectly accentuates all emotions.
Der neue Merker – Johann Schwarz
Really surprising was the performance of the ensemble member Corby Welch, who has continuously developed himself from a Mozart tenor into a Siegmund interpreter. The captivating, flowery timbre is still there but it definitively gained power...
Opernwelt 3/2018 Michael Struck-Schloen
Corby Welch made a great impact with his interpretation of ‚Winterstürmen‘, ….
Oper! Das Magazin – März 2018 – Christoph Schulte im Walde
Corby Welch’s Siegmund is top class...
Orpheus 2/2018 Christoph Zimmermann
Among the singers the casting of CORBY WELCH as Siegmund is a real sensation…his huge dramatic potential but also the piani, all sung on a true belcanto base.
Online Merker
Vocally, Corby Welch as Siegmund is particularly convincing. Whereas, his Siegmund sometimes seems lustful rather than in love, his crystal-clear tenor voice leaves nothing to be desired.
Literatur und Feuilleton
Nationaloper Riga - TANNHÄUSER
Corby Welch as Tannhäuser, who had the power to prevail against her. With almost superhuman power and beauty , he held on to the very last tone without any effort but with precise, crystal-clear text comprehensibility.
Opernglas 07/08 2017 Autor G. Helbig
Grand Théâtre de Geneve – Das Rheingold – LOGE
Excellent: Corby Welch’s portrayal of the Loge. The tenor, who made his debut at the Grand Théâtre de Genève has a sonorous, smooth voice with heroic aplomb.
Online Merker
A wonderful singer and an excellent actor: Corby Welch plays an asexual, opportunist Loge making a connection between the different worlds and characters.
Always perfectly articulated Corby Welch‘s exalted Loge kept moving into the spotlight of the performance.
Online Merker
Magdeburg Theatre - LOHENGRIN
Corby Welch’s Lohengrin is truly outstanding: sung with lots of experience, an economical use of his resources, secure articulation, providently prepared for the tricky sections. Welch knows how to let his tenor voice shine.
Online Merker
Rhine Opera Düsseldorf - LOHENGRIN
Corby Welch in the title role makes a spectacular debut. With effortless easiness he sings Lohengrin with plenty of soft and lyrical tones. Yet, in the right moments he knows how to intensify his rich voice to heroic size.
Der Westen
Linz Municipal Theatre – Mc TEAGUE
Likewise, Corby Welch incorporated the brutish power of McTeague both physically and vocally, providing the listener with a complex protagonist to be both pitied and feared.
Mc Teague is portrayed by Corby Welch, who not only meets the physical demands of the character – as described in the novel. His powerful, beautifully timbred tenor voice is present from the first minute to the very last, singing the entire huge part without any sign of exhaustion. Also as an actor, he was very convincing – simply an outstanding performance!
Online Merker
The singers are also marvelous. Above all Corby Welch as Mc Teague with his powerful, yet also soft-golden tenor voice.
Der Standard
Corby Welch jumped in for the indisposed Stephen Gould. His McTeague is sung with immense presence, expression and power.
Vocally in top form and convincing in his acting the American Heldentenor Corby Welch as guest singer was brilliant in the title part.
Salzburger Nachrichten
Rhine Opera Düsseldorf – WOZZECK
…in her affair with the Drum Major- portrayed by Corby Welch as a cool, ruthless, agreeably relaxed singing American.
Die deutsche Bühne
Deutschlandfunk - Mahler Lied von der Erde
The instrumentalists and Corby Welch, who is a member of the German Opera on the Rhine since 2003 were highly concentrated and wonderfully confident. He sovereignly masters the required tenderness in the high registers and the contrary unrestrainedness, always staying perfectly understandable.
Wetterauer Zeitung
Rheinoper Düseldorf – The Turn of the Screw – PETER QUINT
…and then there is this exceptional tenor Corby Welch. Welch, as the seductive ghost Peter Quint, evokes with his tenor voice the Quint of the world premiere.
Online Merker
Rheinoper Düseldorf – Arabella - MATTEO
Corby Welch as Matteo was an extraordinary positive surprise. The fact the director had turned him into a laughingstock, didn’t affect in any way Welch’s musical performance. He effortlessly managed the dreaded heights in the 3rd act.
Online Merker
Rheinoper Düseldorf –Frau Ohne Schatten
Corby Welch made his debut as the hunting lover. The young Mozart tenor, who is gradually changing onto the youthful dramatic repertoire, particularly attracted attention with his appearance in the first act. His interpretation of the emperor’s hunting and travelling intentions were unpretentiously presented in a lyrical lied style. Performing in such a beautiful way one cannot but compare him with his great predecessors. If Welch continues improving with this consequence, he might become the new Franz Völker.
Online Merker
Rheinoper Düseldorf –PETER GRIMES
Corby Welch sings the title part for the first time. The giant-sized American with his soft, almost heroic tenor voice is the ideal cast for this irascible, quick-tempered but yet vulnerable and sensitive fisherman.
Klassik Info
Above all Corby Welch, who not only mastered the terrifying Peter Pears role of the title character, instead he made the role entirely his own. He turned Grimes into an underdog, who hides behind his beefy shell. Each tenor tone sounded as if wrested from his suffering and yet always musically right.
RP Online
Staatstheater Meiningen – Tannhäuser - TANNHÄUSER
Deutsche Oper am Rhein – Die tote Stadt - PAUL
Credit: Sandra Then
Deutsche Oper am Rhein Düsseldorf-Duisburg – Siegfried – SIEGFRIED
Deutsche Oper am Rhein Düsseldorf-Duisburg – Siegfried – SIEGFRIED
Deutsche Oper am Rhein Düsseldorf-Duisburg – Siegfried – SIEGFRIED
Rheinoper Düsseldorf – Die Walküre - SIEGMUND
Rheinoper Düsseldorf – Die Walküre -SIEGMUND
Nationaloper Riga - Tannhäuser
Nationaloper Riga - Tannhäuser
Corby Welch & Martina Dike
Nationaloper Riga - Tannhäuser
Rheinoper Düsseldorf – Der Fliegende Holländer – ERIK
Rheinoper Düsseldorf – Der Fliegende Holländer – ERIKA
Rheinoper Düsseldorf – Der Fliegende Holländer – ERIK
Grand Théâtre de Genève – Das Rheingold – LOGE
Theater Duisburg - LOHENGRIN
Theater Duisburg - LOHENGRIN
Landestheater Linz – Mc TEAGUE
Rheinoper Düsseldorf - Rusalka - PRINZ
Rheinoper Düsseldorf – Die Zauberflöte – TAMINO
Rheinoper Düsseldorf – Die Zauberflöte – TAMINO
Rheinoper Düsseldorf – La Clemenza di Tito - TITUS