Wotan, Die Walküre. Singapore.

Welcome to the website of Warwick Fyfe, Australian / International opera singer, Helden Bass Baritone, Helpman award winner, Wagner scholar, and Winston Churchill Fellow.  

This year has been a mixed bag of triumphs and disappointment, owing to Covid 19 travel restrictions, state border and theatre closures, self isolations, full quarantines, vaccinations, permits and so forth.  

Sadly, after a wonderful opening night of the OA AIDA,  SOH was closed down yet again, due to Covid lockdown in Sydney .  A further blow was the cancellation and postponement of the OA Ring Cycle in Brisbane, owing to QLD border closures. A great disappointment to everyone involved with the production, as well as our loyal opera supporters. Hopefully, we may see some decrease in border closures in 2022. These are tough times for Australian opera singers, opera companies, orchestras,  the opera community, and arts workers generally. 


Britten. Midsummer Night's Dream Feb 26, 28; Mar 2, 3. Adelaide Festival, Adelaide.

Rossini. Barber of Seville April 17, 20, 22, [24 CANCELED -  Covid]. West Australian Opera, Perth.

Verdi. Aida. June 22; July 10, [13,15,17, 24 CANCELLED- Covid ] 

Wagner. The Ring (Alberich) Oct 29 (Rheingold), Nov1 (Siegfried), 4 (Gotterdammerung); 6 Rheingold), 10 (Siegfried), 12 (Gotterdammerung); 14 (Rheingold),18 (Siegried), 20 (Gotterdammerung). Opera Australia, Brisbane. [NOW POSTPONED- owing to QLD Border closures]

Orff. Carmina Burana. July 9,10. Melbourne. MSO.  CANCELLED -  Covid 


Wagner, Die Walküre (Wotan). Feb 7,9,11,13. Melbourne Opera. (20, 24 Feb TBA)






Amonasro, in Aida. Opera Australia, 2021. Photo credit Prudence Upton.

“Warwick Fyfe as Amonasro penetrated this stateliness with an urgent, and earnest energy that was instantly compelling, and clearly invigorating for his fellow performers. Fierce and nervy, he was a thrilling presence on stage. Acting teachers often talk about a necessary quality of ‘danger’ in great actors, which Fyfe could lead a class or two on. “ Opera Review, 29/06/2021. Oliver Wakelin .


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