Paul Whelan is represented by Rayfield Allied worldwide .

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Paul Whelan

Bass

  • Paul Whelan mediated charm with chill as Nick Shadow, the smoothest of villains. Forceful in solo work, he was seductively watchable, enticing the hapless Tom to ignominy and death.
    William Dart, NZ Herald
  • Paul Whelan... delivered a solidly sung account and a disturbing dramatic one (as Raimondo at ENO).
    Alexander Campbell, Classical Source
  • New Zealand-born bass baritone Paul Whelan brought a dark, brooding intensity to the role of Christus...
    Laura Kate Wilson, Bachtrack
  • ...the befuddlement of a sensationally headstrong, young King Mark (Paul Whelan, whose wondrous tone resounds from top to bottom of his register).
    The Arts Desk
  • La palme […] de la révélation musicale [revient] à Paul Whelan qui incarne un Sénèque rectiligne et revêtu d’une autorité naturelle.
    Sébastien Foucart, Concertonet
  • Paul Whelan was an impressive young Wotan - his final confrontation with Alberich had the glow of truth and humanity
    William Dart, New Zealand Herald
  • Paul Whelan is a stalwart and focused Banquo.
    Hilary Finch, The Times
  • Paul Whelan incrane un Sénèque noble et convaincant.
    Michel Le Naour, ConcertClassic.com
  • Bass-baritone Paul Whelan begins the 2013-14 Season with his debut in two new roles: Nick Shadow The Rake’s Progress and Daland Der fliegende Holländer, both for NBR Opera New Zealand. He travels to the UK to join Opera North in its new production of Macbeth in the role of Banco, and continues to the US to make his debut with Boston Lyric Opera as Giorgio I Puritani, also a new production. 

    Recent successes include his return to Opera Australia as Ramfis Aida, and an appearance at Grant Park Music Festival in Chicago for Beethoven’s Mass in C. He sang Jesus in fully staged performances of St. Matthew Passion in Brisbane, and appeared as Seneca in a new production of L’Incoronazione di Poppea in Lille, Dijon and at Glyndebourne Festival Opera. Other notable appearances include Theseus in the new production of A Midsummer Night’s Dream for English National Opera, Collatinus The Rape of Lucretia for Opera Norway as well as Bach’s St. Matthew Passion for the Leeds International Concert Season. Additionally he appeared at Glyndebourne in two other roles: Claggart in their new production of Billy Budd, and Alidoro La Cenerentola. He sang his first Wotan in Das Rheingold with the Auckland Philharmonic to critical acclaim.

    Other significant engagements include the title role in Bluebeard’s Castle with NBR Opera New Zealand; Four Villains Les Contes d’Hoffmann at Southern Opera; Argante in Handel’s Rinaldo in Munich; Apollon in Gluck’s Alceste at the Dresden Festival; a staged production of Bach’s St John Passion (directed by Deborah Warner), Schaunard in a new production of Leoncavallo’s La bohème, Raimondo Lucia di Lammermoor all at English National Opera; Escamillo Carmen at Welsh National Opera; and Harry Joy Bliss at Hamburg State Opera and world premieres of The Assassin Tree by Stuart MacRae in a joint production with the Royal Opera House and the Edinburgh Festival, and Bird of Night by Dominique Legendre, also for the Royal Opera House, Covent Garden. 

    Concert appearances include Stanford’s Songs of the Fleet with Ulster Orchestra, Mountararat in Gilbert and Sullivan’s Iolanthe with San Francisco Symphony, The Dream of Gerontius (Priest and Angel of Agony) which he sang at Grant Park Music Festival in Chicago, in Berlin, Salisbury and in New Zealand;  the bass soloist in Mozart’s Coronation Mass with Eugene Symphony Orchestra; a return to the London Bach choir for St Matthew’s Passion at the Festival Hall; the world premiere of Terra Incognita, a symphonic cantata for bass soloist and choir written for the artist by Gareth Farr and performed by the New Zealand Symphony Orchestra.

    Other orchestral engagements include St. Matthew Passion with the City of Birmingham Symphony Orchestra and London Bach Choir, Judas The Apostles at Leeds Festival, Mussorgsky’s Songs and Dances of Death with the Ulster Orchestra recorded for BBC Radio 3; Walton’s Belshazzar’s Feast with the Orquesta Sinfonica de Madrid (broadcast live), a series of concerts with Sir Charles Mackerras and the Sydney Symphony Orchestra; Schoenberg’s Gurrelieder at the Bolshoi Theatre in Moscow, Delius’s Sea Drift in Osaka, Valens in Handel’s Theodora with Scottish Chamber Orchestra, also presented in Winterthur, Switzerland.

    Conductors with whom he has collaborated include Sir Simon Rattle, Kent Nagano, Richard Hickox, Yehudi Menuhin, Valery Gergiev, Gary Bertini, and Vassily Sinaisky; he has given recitals at Wigmore Hall, The Purcell Room, Cardiff’s St David’s Hall, Cheltenham Festival, BBC Pebble Mill, Perth Festival and at the Chátelet Theatre in Paris.

    Recordings include A Midsummer Night’s Dream with the London Symphony Orchestra under Sir Colin Davis (Philips), Kurt Weill’s Silber See under Markus Stenz (BMG); recordings with the BBC Philharmonic for Chandos and with the BBC Scottish Symphony for Hyperion.

    • I Puritani, Boston Lyric Opera
      (May 2014)

      His voluminous bass-baritone was expressively sympathetic in their scenes together.
      Angelo Mao, Boston Classical Review
      Whelan’s instrument was remarkably clear throughout its range; he provided, both aurally and visually, a sweet, powerful and awkward opposition to Coburn’s natural grace. His giddy excitement at her happiness balanced his sorrow at her madness.
      Joseph E. Morgan, The Boston Musical Intelligencer
      Paul Whelan is a commanding presence as Sir George Walton, Elvira’s sympathetic uncle, stalwart in his “Liberty Duet” with Richard.
      Jeffrey Gantz, The Boston Globe
      Luckily bass-baritone Paul Whelan (another rising star) was given a bit more rein as Elvira's commanding uncle, and used it to full advantage; with Cook's help he made the opera's famous "Liberty Duet" sternly rousing.
      Thomas Garvey, The Hub Review
      Bass Paul Whelan, singing the role of her uncle and supporter Giorgio, sang with force and intelligence as well, his voice pushed to equally demanding extremes. His aria "Cinta di fiori," at a pivotal moment in act two, had real passion.
      Keith Powers, Milford Daily News
    • Macbeth, Opera North
      February 2014

      Paul Whelan is a stalwart and focused Banquo.
      Hilary Finch, The Times
      The minor parts are strongly cast, headed by Paul Whelan's authoritative Banquo.
      Ron Simpson, What’s on Stage
      Paul Whelan’s rich baritone and his attention to fine details turn his Banquo into a major presence.
      Richard Wilcocks, Bachtrack
      Paul Whelan’s tall, charismatic Banquo... comes into his own during his supernatural second coming, nonchalantly discarding his jacket, shirt and waistcoat in front of a terrified Macbeth.
      Graham Rickson, The Arts Desk
      Paul Whelan as Banquo and Jung Soo Yun as Macduff, added huge depth of feeling to their characters with their glorious voices
      Richard Trindler, Yorkshire times
      The tall and imposing figure of New Zealand bass Paul Whelan in his Opera North debut creates a richly sonorous Banquo in his opening duet with Macbeth and really comes into his own as the Ghost of Banquo.
      Opera Britannia
      Excellent singing is showcased throughout. Bela Perencz is an imposing Macbeth with a stunning voice that soars across the theatre and he is equally matched by Paul Whelan as Banquo.
      Malcolm Wallace
      Paul Whelan sings Banquo with a rich baritone voice.
      Gavin Englebrecht, The Northern Echo
      This ambitious and imaginative production is blessed with two powerful leads [...] and notable performances from Paul Whelan.
      Paul Hindle, Nottingham Post
    • The Rake’s Progress, Auckland Philharmonia Orchestra
      August 2013

      Paul Whelan mediated charm with chill as Nick Shadow, the smoothest of villains. He was seductively watchable, enticing the hapless Tom to ignominy and death.
      William Dart, NZ Herald
    • Wagner Concert, Royal Liverpool Philharmonic
      June 2013

      …the befuddlement of a sensationally headstrong, young King Mark (baritone Paul Whelan, whose wondrous tone resounds from top to bottom of his register).
      Roderick Dunnett, The Arts Desk
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