The Turk in Italy, Opera Australia SOH 2018

“As her aging husband Geronio (the very name means old man), baritone Warwick Fyfe, one of the true stars of Opera Australia, also dominates. While looking ridiculous throughout, he manages to invest his bumbling character with a rare degree of horse sense, no mean feat in this ridiculous plot. Fyfe’s articulate and rapid-fire performance of Rossini‘s patter – eat your heart out Gilbert and Sullivan – was a joy to the ear and eye.” Helena Musa , City News 13/08/2018

"Warwick Fyfe demonstrated again his versatility on the opera stage. Far from his power-hungry Teutonic villain role as Alberich in the Melbourne Ring cycle not long ago, he is both vocally and scenically flawless as the likeable-laughable blundering husband, Don Geronio. His final scene of mutual forgiveness adds a human touch to the kaleidoscope of farce" Zoltan Szabo, Bachtrack. 13/08/2018

Aida, Opera Australia, SOH 2018

“a stunning performance by Warwick Fyfe as Aida’s father Amonasro”

“One of the real gems of the production was home-grown Fyfe, first appearing in the second act and taking this role head-on with great dramatic energy and vocal depth. Bravo!”

“Then there’s the sublime soprano of Amber Wagner. From her very first notes, it is clear this is a woman who has command of her voice and is not afraid to bring the passion forth. She soars expertly over the Chorus of Victory, as the Egyptians call for their prisoners’ execution, while in contrast, in her duets with Radames (Ricardo Massi) and Amonasro (Warwick Fyfe) she is well-balanced and emotive. In fact, the latter duet is a true musical highlight of this production (in which a high bar is already set).”

“strong performances from Warwick Fyfe as Amonsaro”

“The trio’s voices work beautifully together and are supported by Warwick Fyfe’s Amonasro, who is received like a much-loved returned son by the Sydney audience”

Amonasro. With Amber Wagner as Aida. Opera Australia 2018. Photo by Prudence Upton.

Don Quichotte Melbourne 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. Ralph Funicello's handsome set, Missy West's rustic costumes and Marie Barrett's evocative lighting are effective enough but to sit back and melt into the music alongside Furlanetto and Fyfe's affecting connection are the few glorious comforts worth a ticket." Paul Selar, Herald Sun. 7/05/2018"

"In another masterful performance, popular baritone Warwick Fyfe balances the buffoon-like characteristics of side-kick Sancho Panzo with a fiercely protective air of devotion. Fyfe brings out the humanity in Sancho, underpinning the opera's poignant finale with additional pathos. In excellent voice, Fyfe is a fitting stage partner for Furlanetto. Bass/baritone duet work is somewhat uncommon, but these are the two singers you want to hear." Simon Parris, Man in Chair, 4/5/2019.


"Beside the Don must be a trusty squire and foil in the character of Sancho Panza. Cervantes' everyman, this character recalls the worldly concerns of all of us: where will I live? How will I feed myself? Who will look after me? But at the same time he sees worthiness in the glorious madness of his master through the lenses of practicality and duty. Warwick Fyfe has built an astounding career with Opera Australia and internationally. From his brilliant depiction of Alberich to his guilt-riddled Rigoletto, Mr Fyfe continues to expand his repertoire with this wonderful portrait of a simple man struggling to assimilate higher principles into the ordinariness of his life. Exquisitely sung and varying from throw-away comedy to the powerfully emotional duet which concludes the fourth act, Mr Fyfe continues to surprise and delight audiences with his skilfully balanced acting and singing roles." Gregory Pritchard, Concertonet. 5/5/2019 

"...there were some brilliant performances from Australian cast members, with Sian Pendry and Warwick Fyfe standouts..Fyfe is marvellous as Sancho, bringing his character's comical side to life. It's obvious while he's often exasperated by Don Quixote's actions, he's also very fond of him." Jenny Burns, Travels with JB. 6/05/2018.

"However, the locals were not put into the shade. Sian Pendry and Warwick Fyfe more than held their own. ...Warwick Fyfe, a memorable Alberich in the Ring, was an alternatively strong and comic Sancho." Graham Ford, Stage Whispers.

Don Quichotte, Opera Australia , SOH 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 and 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.

"Warwick Fyfe provided the highlight of this performance with his finely realised interpretation of Quichotte’s faithful manservant Sancho Panza, in whom he imbued a touching sense of dignity while filling the theatre with resonate vocals." Bill Stephens, OAM. Arts Review.

As Sancho Panza, with Ferrucio Furlanetto as Don Quichotte.

Parsifal, SOH 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

"Warwick Fyfe gives full throated villainy as Klingsor whose palace gardens sprout sirens tempting noble knights from the holy search." Martin Portus,Stage Whispers, 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

"As the magician Klingsor, who was expelled by the Grail knights for his impure desires and established himself in the valley outside Montsalvat, Warwick Fyfe brought his unique combination of vocal and performance style to his villainous character (with Vincent Price coming to mind) in a magnificent display. With powerfully heated stentorian might, as if delivered from a smelter within, the energy that Fyfe delivered came skilfully forged and phrased, adding further weight to the heights he can reach after his excellent Alberich in Opera Australia's Ring." Operachaser, 11/08/2017

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

Rheingold Nov 2016 Opera Australia

"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 Business 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.

Alberich gets his hands on the ring. Opera Australia 2016. Photos by Jeff Busby.

Siegfried, Nov 2016, Opera Australia

"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

"Mighty baritone Warwick Fyfe returns to the Ring spotlight, as Alberich's all-consuming avarice continues apace. Fyfe's voice rings out with unwavering intensity and delicious richness of tone. Such is the level of Fyfe's talent, he practically creates an ethical dilemma for the audience in that they are so greatly enjoying such a loathsome, self-serving character." Simon Parris, Man in Chair. 26/11/2016

"Yet again Warwick Fyfe shone as Alberich, switching easily between tense melodrama as he confronted Wotan and a more quirkily comic register in his exchanges with Mime." David Larkin, Bachtrack . 28/11/2016.

"Warwick Fyfe just gets better and better as Alberich, Liane Keegan sang with great dignity and solemnity as Erda, while Julie Lea Goodwin enchanted as the full-voiced woodbird, skipping perkily around the stage." Barney Zwartz, Sydney Morning Herald. 27/11/2016

Götterdämmerung Nov-Dec 2016, Melbourne Australia

"Warwick Fyfe was a marvel of splay-fingered creepiness when he appeared in Hagen's dream." David Larkin, Bachtrack. 29/11/2016

"Warwick Fyfe as the Nibelung Alberich was pared back to a beautifully distilled embodiment of bitterness; he has been immense throughout ." Barney Zwartz, Sydney Morning Herald . 29/11/2016 .

"Warwick Fyfe's shorter stage time was no less full of dramatic vocal deployment and spidery creepiness as Alberich, all the way to greedily spying end." Paul Selar, Herald Sun. 29/11/2016

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, The Classical Music Network.

Alberich: Der Ring des Nibelungen, Melbourne 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</strong>" .... [war]: 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. &nbsp;Fyfe, stepping into the&nbsp;shoes of John Wegner at the last minute, proves he is not only&nbsp;<strong>a world&nbsp;beating baritone</strong>&nbsp;but an actor of considerable skill." Simon Plant.&nbsp;<strong>Herald Sun, 20/11/13</strong></p> <p>&nbsp;"Where to stop? Jacqueline Dark&rsquo;s Fricka, Daniel Sumegi&rsquo;s Fasolt, Andrew Moran&rsquo;s Donner; the cast is uniformly very strong. But, let&rsquo;s face it, it is Warwick Fyfe&rsquo;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&rsquo;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.&nbsp;<strong>Limelight Magazine 19/ 11/13.&nbsp;</strong></p> <p>&nbsp;</p>