Phillip Rhodes is represented by Rayfield Allied worldwide.

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Phillip Rhodes

Baritone

  • The role of Aeneas settles easily within the range of the young baritone Phillip Rhodes. His dark coloured voice possesses an attractive rugged quality. A pity that Purcell does not give Aeneas more to do.
    Antony Lias, Opera Brittania
  • The ghastly Scarpia was delivered with aristocratic relish and silky disdain by Phillip Rhodes
    Michael Tanner, The Spectator
  • Phillip Rhodes illuminated the title role, whether tossing off two children's songs or engaging in a laconic confrontation with Robert Tucker's snooty portrait painter
    The National Business Review
  • Phillip Rhodes, appearing for the first time with Opera North, brings a powerful presence to Aeneas, coming into his own with “Yours be the blame, ye gods!”
    Richard Wilcocks, Bachtrack
  • Phillip Rhodes in the title role is strong in every way
    Michael Gilchrist, Theatre Review
  • Phillip Rhodes was a revelation as the Count (Il Trovatore), lots of presence and a big elegant Italianate voice.
    Owen Mortimer, Opera Now
  • Phillip Rhodes’s firm baritone just keeps Aeneas from becoming the usual wimp.
    Martin Dreyer, The Press
  • New Zealand baritone, Phillip Rhodes, begins the 2013-14 Season as Balstrode (cover) Peter Grimes at Opera North (UK). He continues with the company as Marcello La Boheme. He appears in concert with his mentor, Dame Kiri Te Kanawa several times throughout the season. Recent successes include his debut as Count de Luna Il Trovatore at Dorset Festival Opera, and his debut engagement at Opera North as Aeneas Dido and Aeneas/ Iago (cover) Otello.

    In previous seasons, the artist appeared as Monterone Rigoletto at NBR New Zealand Opera and in the title role of their new production of Hohepa, presented at the New Zealand International Arts Festival. He sang Scarpia Tosca at Dorset Opera, and returned to Australia and New Zealand for concert appearances with Auckland Philharmonia in Carmina Burana, and recital appearances with Dame Kiri Te Kanawa throughout Australia.

    Previous appearances include Tonio Pagliacci and Alfio Cavalleria Ruticana at New Zealand Opera, as well as Geronimo Il Matrimonio Segreto (Cimarosa) and Signor Bruschino Il Signore Bruschino at Opera Barga Festival in Italy. Phillip also appeared in New Zealand as Maori Chef/Captain Cook in Trial of the Cannibal Dog by Matthew Suttor and John Downie.

    Graduating with a Diploma in Performing Arts (Voice and Drama) from the Eastern Institute of Technology, Hawkes Bay (New Zealand), Mr. Rhodes appeared as Riff West Side Story, Pilate Jesus Christ Superstar and MacHeath/The Beggar The Beggar’s Opera, as well as singing the role of Aeneas Dido and Aeneas for Hawke’s Bay Song and Opera. He became an Emerging Artist with New Zealand Opera in 2004, appearing in step-out roles in several productions as well as singing Marcello La Bohème, covering Monterone Rigoletto, and inaugurating the title role in Turpin, a world premiere.

    In 2005, Phillip won the prestigious New Zealand Aria Competition and quickly followed this success by winning the highly significant Lexus Song Quest, which brought him to the attention of Dame Kiri Te Kanawa, who still maintains her interest in his career.  Phillip is proud to acknowledge the support and guidance of Dame Kiri and her foundation.

    In 2006, Phillip toured with New Zealand Opera in the role of Malatesta Don Pasquale, and also sang the role of Monostatos Die Zauberflöte.  He appeared as Ping Turandot and covered Enrico Lucia di Lammermoor.  Phillip also enjoyed playing Grandfather Clock and Black Cat in Auckland Opera Factory’s production of L’Enfant et Les Sortilèges

    In 2008, Phillip was awarded a scholarship to attend the Cardiff International Academy of Voice under the tutelage of Dennis O’Neill. He won Second Place in the International Montserrat Caballe Competition held in Zaragosa, Spain, and appeared in concert with the legendary diva in Cologne, Germany.

    In future seasons, Phillip returns to New Zealand for the role of Marcello, and Iago Otello.

    • Hohepa (Jenny McLeod), NBR New Zealand Opera
      March 2012

      Phillip Rhodes as Hohepa gave a strong performance with an expressive voice
      John Daly-Peoples, The National Business Review
      Hohepa, sung affectingly by Phillip Rhodes, his voice mature and attractive, is a humane figure who understands the good intentions of the settler and seeks to avoid the polarisation of attitudes.
      New Zealand Listener
      Phillip Rhodes illuminated the title role, whether tossing off two children's songs or engaging in a laconic confrontation with Robert Tucker's snooty portrait painter.
      William Dart, NZ Herald
      One of the best things about the work is the way McLeod has injected humor into what might be an unrelievedly grim evening. This is particularly true of Hohepa himself, portrayed with dignity but also a sly sense of fun by the fresh-voiced baritone Phillip Rhodes.
      Mike Silverman, CNS News
      Phillip Rhodes in the title role is strong in every way
      Michael Gilchrist, Theatre Review
      He looked and sounded splendid throughout, and had both powerful and touching moments.
      Peter Mechen, Middle C
    • Carmina Burana, Auckland Philharmonia Orchestra
      October 2011

      Welcoming us to the tavern scene, Rhodes brought the same dramatic acumen that won him the 2007 Lexus Song Quest.
      William Dart, NZHerald
    • Tosca, Dorset Opera
      July 2011

      Swarthy Phillip Rhodes was a bit on the young side for Scarpia but is sure to mature into the role and become a formidable interpreter.
      Simon Thomas, WhatsOnStage
      The ghastly Scarpia was delivered with aristocratic relish and silky disdain by Phillip Rhodes, completing a stylish trio.
      Michael Tanner, The Spectator
    • Turandot, New Zealand Opera
      September 2007

      Phillip Rhodes (Ping), Adrian McEniery (Pang) and Benjamin Fifita Makisi (Pong) are perfectly cast and their ensemble work is hugely watchable. The stand out is Rhodes, whose vocal command and charisma fills the stage and auditorium effortlessly.
      Kate Ward-Smythe, Theatre Review
    • Lexus Song Quest
      May 2007

      In the final of the Song Quest, Rhodes sang the Prologue from Leoncavallo’s I Pagliacci as his first operatic number. His second choice was Iago’s spine-tingling Credo from Verdi’s Othello. We heard, and saw, that Rhodes has the valuable ability to enter a part; his whole demeanour changed as he prepared to sing Iago, his face clouded, his body tautened, his voice-colour darkened. In the first half, he sang Finzi’s Come Away Death with sustained lyricism and perfect diction.”
      Rob Bid, New Zealand Listener
    • Lexus Song Quest
      May 2007

      In the final of the Song Quest, Rhodes sang the Prologue from Leoncavallo’s I Pagliacci as his first operatic number. His second choice was Iago’s spine-tingling Credo from Verdi’s Othello. We heard, and saw, that Rhodes has the valuable ability to enter a part; his whole demeanour changed as he prepared to sing Iago, his face clouded, his body tautened, his voice-colour darkened. In the first half, he sang Finzi’s Come Away Death with sustained lyricism and perfect diction.”
      Rob Bid, New Zealand Listener
  • Photos