Eddie Wade is represented by Rayfield Allied worldwide.

Artist Manager:
.(JavaScript must be enabled to view this email address)

Assistant Artist Manager:
.(JavaScript must be enabled to view this email address)

Eddie Wade


  • Eddie Wade’s gruff, dour Rigoletto was marked by rich tone and breadth of phrasing
    The Telegraph
  • As the Father, Eddie Wade was very strong
  • Eddie Wade's sturdy and supple baritone makes for a compelling Rigoletto
    The Guardian
  • Eddie Wade brings an Italianate vocal warmth to his Macbeth, moulding and colouring the vocal line with great sensitivity, opening up splendidly for the more dramatic moments
    The Stage
  • Eddie Wade regularly performs at The Royal Opera House, Covent Garden, Welsh National Opera, English National Opera, Scottish Opera and Glyndebourne.  He has worked with many leading conductors, including Sir Charles Mackerras, Mark Elder, Antonio Pappano, Daniele Gatti, Maurizio Benini, Mark Wigglesworth, Carlo Rizzi, Philippe Auguin and Sîan Edwards.

    Recent and future highlights include Baron Douphol La traviata for Glyndebourne Festival, Sonora La Fanciulla del West for Opera North, the title role in Macbeth and Renato Un ballo in maschera for Iford Arts, Sharpless Madama Butterfly for Den Jyske Opera, Giorgio Germont La traviata for West Green House Opera, Shchelkalov in a concert performance of Boris Godunov with the Philharmonia under Jakub Hrůša, and Fouquier-Tinville Andrea Chénier for the Royal Opera House, Covent Garden.

    • La Traviata (Verdi)
      West Green House Opera (July 2016)

      In his assumption of Giorgio Germont, Eddie Wade sang with a classic Verdi baritone; expressively and majestically delivered with rich, full phrases. His Germont started with a hardened worldliness – cynical about love, practical about familial prospects – and Wade’s transformation of his character, through minute but obvious facial and physical adjustments was impressive. Vocally, that slight haughtiness of the second act dissipated into colours of burden and grief.
      Dominic Lowe, bachtrack ****
    • Macbeth (Verdi)
      Iford Arts Festival (June 2016)

      Eddie Wade was a fine Macbeth, articulating with intelligence the words of Andrew Porter’s English translation, with its instinctive balancing of the needs of both Shakespeare and Verdi. Wade used his baritonal colour with the same expressive instinct, bringing a believable aura of delusional torment to his singing, his manipulation by Lady Macbeth all too plausible.
      Rian Evans, Opera
      Eddie Wade makes a strong, charismatic Macbeth, who begins as a sensible, rational soldier and caring husband, but falls deeper and deeper into self-loathing, anxiety and finally despairing madness. Verdi gives Macbeth some of his most gloriously rational harmonies, and it is a privilege to hear them so perfectly handled by Wade, whose vocal judgement and acting get it right time after time. Wade establishes a vivid interior life for Macbeth with masterly quickness in his first few bars.
      Charlotte Valori, bachtrack
      Baritone Eddie Wade is a fine Macbeth and a convincing pawn in Lady Macbeth’s game of power, while both he and the steely-looking Laura Parfitt clearly enjoy encouraging the audience to swing between feelings of pity and loathing for them as the drama unfolds. ... Wade and Parfitt are fine actors who vocalise the immense emotional spectrum these characters live through in the days following Macbeth’s murder of the King – for the price of the crown, as we all know, will cost them dear.
      Rebecca Lipkin, The Arbuturian
    • La Traviata (Verdi)
      Glyndebourne Tour, September 2014

      There were execellent comprimarios in Eddie Wade (Douphol).
      Hugh Canning, Opera
    • La Fanciulla del West (Puccini), Opera North
      Grand Theatre Leeds, January 2014

      The smaller roles – especially Eddie Wade's Sonora – are just as sharply defined.
      Andrew Clements, The Guardian
      Eddie Wade’s Sonora makes his mark among the motley crew of dreamers and losers.
      Rupert Christiansen, The Telegraph
      Among cameos, notably, Eddie Wade as the good guy Sonora stood out.
      Fiona Maddocks, The Observer
      Eddie Wade’s Sonora lent colour to the three principals.
      Martin Dreyer, Opera
      Eddie Wade makes an excellent company debut as Sonora.
      Ron Simpson, Whatsonstage.com
    • The Siege of Calais, English Touring Opera
      Hackney Empire (March 2013)

      But I have no complaints about the excellent cast: Eddie Wade as the mayor… sang with style and panache.
      Rupert Christiansen, The Telegraph
      What saves the evening is some fine singing, from Eddie Wade, centred and stoical as Eustachio, the mayor of Calais.
      George Hall, The Guardian
    • Messiah (Handel), English Chamber Orchestra, Leeds Town Hall
      (December 2011)

      ...the rich tone and powerful projection of Royal Opera House stalwart Eddie Wade, who brought great strength and depth to the three bass arias
      Laura Kate Wilson, Bachtrack
    • Rigoletto (Verdi), Scottish Opera
      (May 2011)

      Eddie Wade's sturdy and supple baritone makes for a compelling Rigoletto.
      Kate Molleson, The Guardian
      Eddie Wade’s gruff, dour Rigoletto was marked by rich tone and breadth of phrasing.
      Rupert Christiansen, The Telegraph
      [Eddie Wade’s] acting as much as his singing was compelling
      Neil Jones, Opera Now
      [Eddie Wade’s] stage presence and his penetrating characterisation of the tormented hunchback probe all the ambiguities of the character
      Michael Tumelty, Herald Scotland
      ...Rigoletto was played by Eddie Wade – and here was a brilliant performance. Wade’s unfortunate hunchback ran the whole gamut of emotions before our eyes and explored an extraordinary palette of vocal colours as he did so. His duets with Nadine Livingston (Gilda) were wonderfully tender and the contrast between that tenderness and the bitter agony of the last act was one of the things which left the greatest impression of the evening. Pure and clear when playing the over-protective parent and a shocking nasal rage when he later discovered that he had been betrayed and had lost his daughter after all...This was a complex, rich and dark Rigoletto completely believable in his pain and completely satisfying to listen to.
      Kelvin Holdsworth, Opera Britannia
      The singing was excellent...Eddie Wade was a very convincing Rigoletto...there is no doubt that he is thoroughly inside the role. Pari siamo was a great character study but was surpassed by his great Act 2 scene with the courtiers, moving from towering rage to cowering impotence without any sense of irony.
      Simon Thompson, Seen and Heard International
    • Madam Butterfly (Puccini), Welsh National Opera

      …Eddie Wade, despite having a cold, took over Sharpless most effectively.
      Jon Holliday, The Stage
      …while the Sharpless of Eddie Wade, Standing in for a virus-stricken Neal Davies, had compassion.
      Rian Evans, The Guardian
      while Eddie Wade’s Sharpless (…) cuts a dignified, tenderly convincing figure as the appalled spectator to his countryman’s cruelty
      Neil Fisher, The Times
  • Eddie Wade Concert Repertoire

    • Choral Symphony No 9
    • Mass in D
    • Requiem
    • Six songs from a Shropshire Lad
    • Te Deum op.103
    • Dream of Gerontius
    • Requiem
    • Messiah
    • Elijah
    • Vesperae de Dominica KV 321
    • Mass in C KV 427 (417a)
    • Carmina Burana
    • Messa di Gloria
    • Stabat Mater
    • Songs of the Fleet
    Vaughan Williams
    • Dona Nobis Pacem
    • Sea Symphony
    • Songs of Travel
    • Requiem

    Eddie Wade Opera Repertoire

    • Peter Grimes (Balstrode)
    • Hansel and Gretel (Peter)
    • Cunning Little Vixen (Forester) (Poacher)
    • Jenufa (Mill Foreman)
    • I Pagliacci (Tonio)
    • Ines de Castro (The Executioner)
    • Cavalleria Rusticana (Alfio)
    • Die Zauberflote (Sprecher)
    • Le Nozze Di Figaro (Conte Almaviva)
    • Boris Godunov (Andrei Schelkalov)
    • Madama Butterfly (Sharpless)
    • La Boheme (Marcello)
    • Tosca (Scarpia) (Sciarrone)
    • Turandot (Mandarin)
    • Salome (Jokanaan)
    • La Traviata (Giorgio Germont)(Baron Douphol)
    • Don Carlos (Rodrigo)
    • Otello (Iago)
    • Un Ballo in Maschera (Renato)
    • Macbeth (title role)
    • Rigoletto (title role)
    • Das Rheingold (Donner)
    • Tristan und Isolde (Melot)(Kurwenal)
  • Photos