Press
‘...Richard Wiegold’s sonorous King Marke, timbre and delivery redolent at times of Finnish predecessors such as Martti Talvela and Matti Salminen…’ Opera Magazine
‘Perhaps the finest singing of all came from Richard Wiegold, whose tragic King Marke had a positively Tomlinsonian depth and sonority. His voice seemed almost too large for the venue.’ Wagner News
‘As far as the soloists are concerned, the performances of Alexander Krasnov and Richard Wiegold stood out. From a musical and dramatic point of view, they were immense in the scenes in which they appeared. Their voices, rounded and full of feeling, with the dramatic and expressive plangency of Krasnov’s Dutchman and the limitless greed of Wiegold’s Daland; Wiegold, in whom one does not know what to admire more: his nobility of timbre, his musicality or his immense stage presence. Both gave the impression of dispelling the fog out of which the work appears to emerge when one thinks of its plot, lighting up the stage as if it were a fully-staged production.’ El País, translated from the Spanish by Jean Andrews
‘Richard Wiegold’s cavernous bass voice brought a regal grandeur to King Marke’s pronouncements that you do not often hear these days and – for someone so obviously in command – this made Marke’s emotional collapse towards the end of his long melancholic second act monologue even more moving.’ Seenandheard-international.com
‘Richard Wiegold added many layers of distress and insight to Marke’s monologue.’ Opera Now
'Richard Wiegold as Timur also impressed with cavernous bass and palpable acting.’ Opera News
‘Richard Wiegold delivered high drama as Titurel in the Grail Ritual….’ Opera Magazine
'Richard Wiegold was in glorious, stentorian voice as Arkel, King of Allemonde' Bachtrack
‘Richard Wiegold brought his mighty bass to the role of Fasolt the giant, and was at once threatening and heartbreaking.’ Triangle Arts and Entertainment
‘Captain Daland was played perfectly by the bass Richard Wiegold’ Operaworld.es, translated from the Spanish
‘Richard Wiegold’s sonorous, opulent bass was ideal for conveying Arkel’s essential humanity…’Operalively.com
‘Richard Wiegold playing the role of the Secret Police Agent was roundly booed at the end of the performance. This was not, however, to show displeasure with his singing or acting, but rather a show of appreciation for his convincing portrayal, which was founded upon menace and fear. He has an authoritative bass, clearly articulates his lines, and sings with power and purpose. His appearances were always an unpleasant experience, and he deserved his reception.’ Operawire.com
‘As Banquo, Welsh bass Richard Wiegold used his distinctive timbre to deliver an affecting rendition of the familiar aria. His sympathetic stage presence made his reappearance as the ghost even more threatening.’ Opera News
‘Richard Wiegold as Basilio showed off both the dark-grained quality of his voice and his considerable ability in comic roles.’ Opera Now
‘…Richard Wiegold, who could probably be considered a celebrity cameo here as Titurel, was suitably imposing…’ The Arts Desk
‘Having transferred from Rossini’s Don Basilio to Mozart’s Dr Bartolo, Richard Wiegold’s voluminous bass made a strong impression as the elderly medico...’ Opera News
‘....one of the most immediately recognisable bass voices around today....’ Bachtrack
‘Richard Wiegold, as the spirit-guide Vairochana, had some of the score’s loveliest music, delivered with a heart-melting simplicity.’ Birmingham Post
‘The powerfully resonant bass voice of Richard Wiegold suited perfectly the implacability of the part of the Priest.’ Opera Now
‘Richard Wiegold, with a beautiful timbre, and magnificent projection and diction. An important voice’. OperaWorld.es, translated from the Spanish
...the Welsh bass Richard Wiegold gave a compelling performance as Timur.’ Opera
‘.....Richard Wiegold sang King Mark’s Wozu die Dienste ohne Zahl from Tristan und Isolde......This was a very fine, complex, and profoundly moving performance, Wiegold singing with a lovely, dark, burnished voice.’ Opera Today
‘...Richard Wiegold as Don Basilio, who was capable of holding suspense and added drama with his powerfully rich bass notes.’ Bachtrack
‘…..a profound and reliable Gualtiero.’ The Scotsman
‘Another company debut, Richard Wiegold was a terrific Banquo. While “velvety” is not a word one associates with basses, his voice was an exception. He also had great stage presence, even as a ghost during the second act.’ Palm Beach Daily News
‘...The next treat was “Wozu die Dienste ohne Zahl” from Tristan und Isolde by the British bass, Richard Wiegold. He has a wonderful resonant voice which enveloped the audience like a warm, dark cocoon.’ Opera Britannia
‘....Richard Wiegold was a wonderfully sonorous Vodník.’ Opera Magazine
‘Richard Wiegold's Commendatore was appropriately magisterial and ominous…The Denver Examiner
‘Richard Wiegold as Vodník, the father of Rusalka was commanding both vocally and physically and his anguished reiterations of “Rusalka bledá” (“poor Rusalka”) conveyed convincingly the sorrow of a father for his suffering daughter.’ Bachtrack
‘King Louis is little more than a cipher throughout the opera but Richard Wiegold’s warm, pliant bass established the character’s benevolent desire to ensure peace whenever faced with aggression.’ Classical Source
‘The massive voice of bass singer Richard Wiegold stunned the audience…….a unique experience’ British Bandsman
‘Richard Wiegold, in his U.S. debut, was an imposing Commendatore....’ Opera News
‘.....and in a casting coup reminiscent of Russian dolls, bass Richard Wiegold's King Arkel is the most expansive overall, and yet his physical portrayal of dotage is shakily spot on' The National Post, Canada
'It would be hard to imagine a better cast of principals than we were blessed with in this production......Welsh bass Richard Wiegold is very fine and imposing as the blind King Arkel....his gentle pity for his doomed heirs dominated the final scene.' Toronto Globe and Mail
‘The bass role is an enormous sing, requiring flexibility and power.....Richard Wiegold excelled with an interpretation that was well thought out, dramatically delivered and executed with precision. This is a voice positively made for Wagner and the heavier Verdi bass roles like the Grand Inquisitor in Don Carlo. His granite bass was particularly impressive and chilling in the Confutatis...... he would be absolutely terrific as Hagen.’ Opera Britannia
‘It was a cast to kill for ……Richard Wiegold’s ho-hoing Green Knight was John Tomlinson meets Graham Chapman’ The Independent
‘..the granite-like bass of Richard Wiegold's Grand Inquisitor’ Opera Magazine
‘Richard Wiegold...a thunderous Green Knight’ The Times