Beckmesser: Der Meistersinger, 2018

" Warwick Fyfe's Beckmesser was simply extraordinary and galvanising. As with his incomparable Alberich in The Ring, Fyfe brought the same combination of quirkiness and menace to Nuremberg's artful Staatschreiber. His performance remained - just - on the right side of caricature, and was properly sung, not bellowed or distorted" Michael Smith, Australian Book Review, Arts. 14/11/2018

"Acclaimed baritone Warwick Fyfe has the role of his career in vexatious misanthrope Sixtus Beckmesser.... Along with well-judged moments of buffoonery, the comedy is all the more effective for Fyfe's completely serious focus, and his singing, particularly when Sixtus is actually performing, is nothing short of glorious" Simon Parris: Man in Chair. 14/11/2018

"Warwick Fyfe's outstanding musical and dramatic characterisation of Beckmesser alone makes a ticket worthwhile" Peter Tregear, The Conversation . 14/11/2018

"The comic seasoning would have been stale without Warwick Fyfe's sensational turn as the sneering object of ridicule, Beckmesser" Paul Selar, Herald Sun. 14/11/2018

Alberich : The Ring, 2016

"Singing with an easy power through the whole range, his baleful lower register cuts through the heaviest orchestral texture, his top notes pinging with authority. His carefully finessed stagecraft creates a highly watchable mix of vengeance and vainglory, while his understanding and engagement with Wagner's lyrics ensures a richly textured character. " Clive Paget, Limelight Magazine 22/11/2016

"Following an acclaimed breakout performance in the 2013 season, Australian baritone Warwick Fyfe returns to the role of Alberich. In the intervening three years, Fyfe has lost weight but still portrays the low self-confidence of opportunistic devil Alberich and his voice is as rich and powerful as ever. A clear crowd favourite on opening night, Fyfe cements his position as one of our foremost singing actors. The scorching combination of Johnson, Conrad and Fyfe is at the heart of the success of this staging of Das Rheingold." Simon Paris: Man in Chair. Music Theatre, Opera and Ballet Reviews, News and Views.

"Among the singers, the palm has to go to Warwick Fyfe, who was simply mesmerising as Alberich. Stripping to his underwear for his failed attempt to seduce the Rhinemaidens, he was by turns peevish, pathetic and terrifying; and still more effective in Scene 3 as the tyrannical overlord of the Nibelungs, insecure enough to be tricked by Loge. Fyfe's stentorian delivery of Alberich's despairing "O Schmerz" and still more the famous curse in Scene 4 showed him to be an echt-Wagnerian." David Larkin Bachtrack 23/11/2016

"Most of all, it was Warwick Fyfe’s night as the nerdy and gnarly Alberich, renouncer of love and absconder of the treasure. In a reprise of his 2013 performance, Fyfe completed the music, commanded the stage and, with his intense and fulsome baritone, conveyed his character's stench with utter magnetism." Paul Selar, Herald Sun 23/11/2016

"Warwick Fyfe as the bitter dwarf Alberich, who steals the Rhinegold​, again stole the show with a malevolent yet sympathetic portrayal, nobly sung." Barney Zwartz, The Age 22/11/2016

"Alberich (Fyfe) performed with energy and resonance throughout, delivering the outstanding performance of the production." David Barnaby, Performing Arts Hub.

"Warwick Fyfe returns as Alberich. He sings powerfully, and his performance is even more inspired than the one he gave, at short notice, in 2013. He is always acting, flinching, leering, and there are some neat touches, such as when, like a boy in a playground, he skips around the stage in delight during his scene with Wotan and Loge, there to steal the Tarnhelm. Fyfe owned the stage and deserved his loud ovation." Peter Rose, Australian Book Review . 23/11/2016

"Fyfe is magnificent as the loathsome Alberich; it's as if Shylock ate Gollum and keeps coughing him up mid-conversation. There's a pathetic internalised malignancy to him, but then he turns outward and becomes truly terrifying. He was a late addition to the role in 2013, to much acclaim, but he has by now become one of the leading international exemplars of this part. " Tim Byrne, Time Out . 25/11/2016.

As Alberich, Warwick Fyfe continues to build a fascinating portrait of a vengeful monomaniac consumed by bitterness and malice. The quicksilver mood changes and nervous tension are beautifully played, a painful sense of authority lost always hanging about his ears. Vocally he’s perfect in the role: words clear, text used, top notes ringing, bottom notes slicing through." Clive Paget, Limelight. 26/11/2016

Parsifal, 2017

"Warwick Fyfe's Klingsor was a dramatic and powerful interpretation." Christopher Menz, ABR arts, 11/08/2017

"Warwick Fyfe as the evil sorcerer Klingsor was simply sensational. He thundered the text, expressing the seething rage underlying Klingsor's malevolence. His articulation of Wagner's text was exemplary. Having recently excelled as Alberich in Opera Australia's Ring Cycle, Fyfe has shown himself to be one of the finest Wagnerian singers Australia has produced." Deen Hamaker, Soundslike Sydney , 9/08/2017

"This was just one outstanding example of how fine acting is still possible in a concert performance; the most sustained and visible was Warwick Fyfe's elaborate facial expressions and gestures as the wicked magician Klingsor, recalling his similar success as Alberich in the Melbourne Ring." Jason Catlett, Timeout. 11/08/2017

"That image is taken further in the figure of the self-castrated Klingsor, to whose impotent malevolence Warwick Fyfe brought terrifying ferocity, a keen-edged incisive voice, madly wandering eye and brilliant character portrayal." Peter Mc Callum, Sydney Morning Herald, 10/08/2017

Sancho Panza : Don Quichotte 2018

"At his side, the impressive trusty expertise of baritone Warwick Fyfe complimented Furlanetto brilliantly as the comically endearing Sancho. You get the sense that Sancho's music is the more stirring and Fyfe gave it immense idiosyncratic weight the further the piteousness of Don Quichotte's dying end neared." Paul Selar, Herald Sun. 7/05/2018

"As Sancho Panza, who administers worldly practicality to Don Quichotte's fantastical schemes, Warwick Fyfe brought no less distinctiveness. Though the "fat man" of the unlikely pair, he sang with leaner focus, smoothness and aptly characterised musicality, his practical protestations capturing a combination of caring warmth and distraught exasperation." Pete McCallum, Sydney Morning Herald. 21/03/2018

"Warwick Fyfe is marvellous as the Don’s right-hand man Sancho, providing vocal strength, surety  a comic performance that sits just the right side of hammy, shifting when required into earnest and impassioned advocacy for his master; he plays off Furlanetto with obvious relish." Limelight. Angus Macpherson. 19/03/2018

"Of course, the Don is nothing without his Sancho Panza, here sung by Warwick Fyfe in one of the finest of his many performances for Opera Australia. From Alberich to Sancho seems a vast chasm, but Fyfe's versatility is on full display. Fully in control of the many textual felicities of the French language, he brings a warm and incisive vocal tone to this musically and dramatically rewarding character. It is a buffo role, but also has several moments of warm lyricism in which Fyfe reveals the full beauty of his voice." Michael Halliwell, Australian Book Review. 19/03/2018.

 

Carmina Burana, Melbourne Symphony Orchestra, 2017

" the most impressive contributor was baritone Warwick Fyfe, who sang this music with a heightened vehemence, whether as the egocentric Abbot of Cockaigne, the rueful observer in 'Omnia sol temperat' , or handling that ode to lost love, 'Dies, nox et omnia' with its three-octave compass." Clive O'Connell, Sydney Morning Herald 24/04/2017

Simon Boccanegra, Opera Australia 2016

"Warwick Fyfe sings and acts the role of Paolo Albiani as though peevish resentment were mother's milk to him. His voice combines focus and complexity, and, as a study in human failing, his self-cursing silhouette at the Act 1 curtain deserves capturing in oils." Peter McCallum, Sydney Morning Herald 27/07/2016

Tales of Hoffman, English Touring Opera 2015

"Warwick Fyfe, a prizewinner for his Alberich in Melbourne, looked slimily cadaverous, (but) left us in no doubt of his firm baritone's robust good health." Yehuda Shapiro, Opera.

"Fyfe makes a fine nemesis, with a wild top to the voice that lends real and growing menace to the Coppelius/Miracle/Dappertutto trio of villains, playing off Adam Tunnicliffe's lovely open tenor (Spalanzani, Pitichinaccio) and Louise Mott's knowing Nicklausse/Muse." Alexandra Coghlan, Spectator.

"Warwick Fyfe as Hoffmann's multi-faceted nemesis: an Australian bass-baritone making his British debut, Fyfe wields a powerful voice..... darkly impressive....He is a terrific actor, and it's no surprise to learn from the programme that he is a past winner of the Robert Helpmann Award. Rupert Christiansen , Telegraph 12/10 /15

"the sinister nemesis that erodes his mind is effectively Murnau's Nosferatu, chillingly embodied by Warwick Fyfe.Fyfe impresses.....Tim Ashley, Guardian 12/10/15

Rigoletto: Opera Australia 2014

"Fyfe's hunch-backed jester is a controlled study in sociopathic behaviour, partially ameliorated by his ingenuous, albeit stlfling, love for his daughter Gilda. It has a detached coldness about it that is mesmerising to watch unfold over two-and-a-half hours. The interpretation is a courageous choice, which pays off in Rigoletto's soliloquy Pari siamo in the second scene of Act One. Fyfe's performance is consummate and chillingly mesmerising. And then it gets better."

"Baritone Warwick Fyfe knows this role of Rigoletto well having performed it many times both locally and abroad. His is a brooding character of vindictive tongue-lashings and vitriol. He weaves among the crowd looking for weaknesses and exploiting them for his own advantage. His attachment to the Duke is purely monetary; this Rigoletto is loyal to no one other than his daughter." Kevin Purcell, Limelight Magazine.

"As we saw in his realisation of the role of Alberich during the Melbourne Ring Cycle, Mr Fyfe's vocal range is as exemplary and commanding as his acting. He has a hugely impressive repertoire of dramatic capabilities .......Warwick Fyfe's performance in the title role produced many <strong>moments of great beauty and touching emotion. His denunciation of the courtiers in Act Two was a powerful moment in the drama and his reduction to tears and pleading in this same scene produced elements of intense passion. The audience acclaim at the end of the performance was evidence enough of a spectacular night of singing." Greg Pritchard, ConcertoNet.com- The Classical Music Network.

Alberich: Der Ring des Nibelungen, 2013

Fyfe's Alberich was the real star of the Ring, in an unexaggerated, deft and mercurial performance, sung in a strong and supple baritone. His Curse was all the more mendacious for it's deliberate understatement. .....Fyfe's Alberich was outstanding, and not only in Rheingold, but also in his other, briefer appearances in Siegfried and Goetterdaemmerung. Other houses should seek him out." Michael Shmith. Opera, February 2014.

"Der berzeugendstengerdarsteller dieses "Ring" Warwick Fyfe, ein charismatischer Alberich". Stephan Moesch. Opernwelt, Seite 44, Jan 2014

"the most astonishing discovery here was the Alberich of Warwick Fyfe...his Alberich was that of a master: the most sympathetic, anguished, and deeply moving I can recall. And the voice is strong and flexible, with perfect intonation" James L. Paulk. Classical Voice North America: Journal of the Music Critics Association of North America, 14/12/13.

"Warwick Fyfe, as the villainous dwarf Alberich. Fyfe, stepping into the shoes of John Wegner at the last minute, proves he is not only a world beating baritone; but an actor of considerable skill." Simon Plant.Herald Sun, 20/11/13

"Where to stop? Jacqueline Dark's Fricka, Daniel Sumeg's Fasolt, Andrew Moran's Donner; the cast is uniformly very strong. But, let'sface it, it is Warwick Fyfe's show. Shambling on as the anoraked fat boy from school, hopelessly in lust with the showgirls who prick-tease him then mercilessly mock him, he grows in vocal stature as the scene progresses until we are in no doubt that this nerd's revenge will be terrifying and vast. The loopy, all-powerful, psychopathic lord of the Nibelungs that he gives us in scene 3 and its chilling, down-but-far-from-out flipside in scene 4 are among the great characterisations of the Australian operatic stage and the powerful, multi-coloured, if at times wild voice is a dominating force in the production." Alan John.Limelight Magazine 19/ 11/13.