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| 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. |
codalario
www.codalario.com |
| 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
www.plateamagazine.com |
| Oper Leipzig – Walküre - SIEGMUND |
| Corby Welch effortlessly sings the role of Siegmund. All the notes are in place. His condition is impressive.
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| 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.
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ilPonte
www.ilponte.com |
| 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).
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Bellini News
www.bellininews.it |
| 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.
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| 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.
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ioco
www.ioco.de |
| 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.
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Ursula Hartklapp-Lindmeyer, 18.04.2023, Das Opernmagazin
www.opernmagazin.de |
| 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.
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Concerti
www.concerti.de |
| 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.
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OMM
www.omm.de |
| 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.
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Frankfurter Rundschau
www.fr.de |
| 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
www.onlinemerker.com |
| 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
www.rheinpfalz.de |
| 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
PDF |
| 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
www.hz.de |
| 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
www.hz.de |
| 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. |
OMM
www.pmm.de |
| 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;… |
OMM
www.pmm.de |
| 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. |
Westfalenpost
www.wp.de |
| 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
www.deropernfreund.de |
| 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
www.deropernfreund.de |
| 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
www.onlinemerker.com |
| In the final scene, his composing son (Corby Welch)really gave his all. |
RNZ
www.rnz.de |
| 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
www.schwetzinger-zeitung.de |
| Despite his opulent tone, Corby Welch‘s Alwa was at all times subtle and full of nuances. Respect! |
RNZ
www.rnz.de |
| Das Ensemble is excellent without any exception, especially ... and Corby Welch’s flexible- melodious Alwa. |
DIE DEUTSCHE BÜHNE
www.die-deutsche-buehne.de |
| 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. |
Gramophone
www.gramophone.co.uk |
| 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“. |
WAZ
www.waz.de |
| 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
www.opernmagazin.de |
| 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." |
RP ONLINE
www.rp-online.de |
| "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
www.waz.de |
| 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
www.operamagazine.nl |
| 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
www.rundschau-duisburg.de |
| 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
www.br-klassik.de |
| Corby Welch in the title role was very impressive. |
Thüringer Allgemeine
www.thueringer-allgemeine.de |
| The highlight of the evening was Corby Welch, who plays the exhausting title role with mere limitless, lyrical reserves. |
Concerti
www.concert.de |
| The Tannhäuser of Weimar, Corby Welch, is one of these tenors, whose mere appearance is worth visiting the performance. |
NMZ
www.nmz.de |
| 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
www.der-neue-merker.de |
| 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
www.literaturundfeuilleton.wordpress.com |
| 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
www.der-neue-merker.de |
| A wonderful singer and an excellent actor: Corby Welch plays an asexual, opportunist Loge making a connection between the different worlds and characters. |
ExitMag
www.exitmag.fr |
| Always perfectly articulated Corby Welch‘s exalted Loge kept moving into the spotlight of the performance. |
Online Merker
www.der-neue-merker.eu |
| 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
www.der-neue-merker.eu |
| 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
www.derwesten.de |
| 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. |
Bachtrack
www.bachtrack.com |
| 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
www.der-neue-merker.de |
| The singers are also marvelous. Above all Corby Welch as Mc Teague with his powerful, yet also soft-golden tenor voice. |
Der Standard
www.derstandard.at |
| Corby Welch jumped in for the indisposed Stephen Gould. His McTeague is sung with immense presence, expression and power. |
Kurier
www.kurier.at |
| 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
www.sn.at |
| 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
www.die-deutsche-buehne.de |
| 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
www.wetterauer-zeitung.de |
| 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
www.der-neue-merker.de |
| 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
www.der-neue-merker.de |
| 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
www.der-neue-merker.de |
| 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
www.klassikinfo.de |
| 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
www.rp-online.de |
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