Peter Wedd

Peter Wedd


Representation: UK Only


Peter Wedd’s Tristan ‘is almost in every way superb’, as was every review for his interpretation of the role at Longborough Opera.   Having recently moved into the lyric Wagner repertoire Peter is fast establishing himself as one of the UK’s leading exponents in this field.   With Tristan, Siegmund and Lohengrin already on his repertoire list he is looking forward to the challenges still ahead.


Full Biography

Peter Wedd studied at the Guildhall School of Music and Drama with William McAlpine, and subsequently at the National Opera Studio. After completing his studies, he was a Company Principal at the Royal Opera House Covent Garden, where his roles included Ywain Gawain and the Green Knight and Kudrjas Kat’á Kabanová.

A regular performer at Welsh National Opera, Peter has appeared as Don José Carmen; Alfredo La Traviata; Tamino Die Zauberflöte; Steuermann Der Fliegende Holländer and Don Ottavio Don Giovanni. Other UK appearances include Pedro in James McMillan’s Ines de Castro and Laca Jenufa (Scottish Opera); Chevalier de la Force Les Dialogues des Carmelites (English National Opera); Florestan Fidelio and Levko May Night (Garsington Opera); Laca Jenufa (Glyndebourne On Tour) and Don José Carmen (Opera North). Outside the UK, Peter has sung for the Nederlandse Reisopera (Giasone Medée and Florestan Fidelio), Opera Australia (Gregor Makropoulos Case and Laca Jenufa), New Zealand Opera (Jenik The Bartered Bride) and Bern Opera (Lensky Eugene Onegin). Peter recently returned to Scottish Opera as Prince Rusalka, and sang Hermann Queen of Spades for Opera Holland Park.

Concert engagements have included Beethoven’s Ninth Symphony with the Manchester Camerata, now released on the Avie recording label; Mahler’s Das Lied von der Erde at the Edinburgh International Festival, and Mahler’s Symphony No. 8 for Leeds International Concert Season and at Norfolk Showground. He has worked with many major orchestras including the London Philharmonic, BBC Symphony, Royal Scottish National, Royal Liverpool Philharmonic, City of Birmingham Symphony and Netherlands Radio Philharmonic.  Recordings include Steva Jenufa, Jacquino Fidelio, Steuermann Der Fliegende Holländer and Chevalier de la Force Les Dialogues des Carmelites, all for Chandos.

Peter has recently moved into the lyric Wagner repertoire and in May 2013 had great success in his role debut as Lohengrin for Welsh National Opera, which he also sang for Polish National Opera and at the National Moravian-Silesian Theatre in the Czech Republic. He has appeared as Froh Das Rheingold for Opera North; Siegmund Die Walküre in Mexico with Jan Latham Koenig; and Tristan Tristan und Isolde for Longborough Festival Opera.

This season Peter makes his debut in Krefeld/Mönchengladbach as Lohengrin, sings Tristan with the Winnipeg Symphony Orchestra and Florestan Fidelio in a concert performance in Paris with Garsington Opera. In Autumn 2017, Peter makes his debut as Siegfried Götterdammerung in Karlsruhe.

Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to make sure you receive the most up to date version.

Email: Evie Parker



A Summer of Opera

May 5th, 2016

Hazard Chase singers in UK’s top summer opera festivals

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Wedd and Romaniw in Rusalka

April 1st, 2016

Scottish Opera’s five-star production includes Peter Wedd as Prince, and Natalya Romaniw as Foreign Princess.

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Peter Wedd’s Tristan wows the critics

June 19th, 2015

‘The surprise here was the tenor, Peter Wedd’ – Anna Pickard, The Times

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Peter Wedd sings title role in Tristan und Isolde

June 12th, 2015

Wagner’s opera in a new production at Longborough Festival

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Wagner – Tristan und Isolde (Longborough Festival Opera)

“Wedd, channelling anguish, tenderness, heroism and vulnerability with urgent eloquence, was tireless. It obviously helped that the theatre is not large and that Negus and his orchestra favoured detail and clarity over bulk, so that nuances of word and direction made their mark and there was no need for vocal strain. This meant that Wedd could launch a third act in which he bared Tristan’s soul with distressing realism.”
Peter Reed, Opera Magazine (August 2017)

“She (Lee Bisset) and the Tristan of Peter Wedd make the most convincing couple I have ever seen in this work. Wedd is a handsome, athletic presence […]. For a long time now I’ve expected to see at best a Tristan who can keep going and not let his Isolde down, but Wedd at last fulfils Wagner’s design, which is to move the emphasis from Isolde (Act One), to the pair of lovers (Act Two) on to Tristan, who in Act Three carries out the most thorough and excruciating self-analysis and self-discovery of any character in opera, or indeed in drama altogether. […] Wedd is up to all the demands of the role — and for once Act Two is uncut — so that we respond fully to the intensities of all three acts; if we have the stamina, that is. These two magnificent singing actors are fully supported by their servants.”
The Spectator, Michael Tanner (22 June 2017)

“On first-night Wedd’s singing was heroic and tireless, and the final Act must count as this already-superb Wagner-tenor’s finest achievement, on top of which he delivers Tristan’s madness with a truly distressing realism. […] Wedd and Bisset are inside their roles and the text to a rare degree.”
Classical Source, Peter Reed, (8 June 2017)

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Tchaikovsky – QUEEN OF SPADES (Opera Holland Park)

“Peter Wedd is the fatefully-obsessed Herman: his singing and acting has a raw nakedness which cuts through everything in Tchaikovsky’s gorgeous musical tapestry.”
Michael Church, The Independent (August 2016)

“Wedd is entirely convincing as a man whose mind is slowly coming apart in the grip of obsession. He looks good, too…”
Tim Ashley, The Guardian (August 2016)

“Herman is powerfully and urgently sung by Wedd.”
Neil Fisher, The Times (August 2016)

“Peter Wedd’s Herman, strong and ardent, was convincingly urgent and mad-eyed.”
Fiona Maddocks, The Observer (Aug 2016)

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Mahler ‘Symphony of a Thousand’ (No.8), Leeds International Concert Season

“Peter Wedd’s enraptured Doctor Marianus projected an heroic Wagnerian quality across lush orchestral textures.”
Geoffrey Mogridge, Ilkley Gazette (June 2016)

Dvorak – RUSALKA (Scottish Opera)

“There are tremendous performances across the piece, not least from… Peter Wedd (a hapless and, ultimately, tragic, Prince).”
Mark Brown, The Telegraph (Apr 2016)

“Peter Wedd is a solid Prince.”
Glasgow Theatre Blog (Apr 2016)

“Peter Wedd… seems to be developing into the best Heldentenor that Britain has to offer.  He attacks the role [of Prince] with all the Wagnerian ardour it requires while never sounding pressed, and he marries this with golden beauty that sets his interpretation apart as special.”
Simon Thompson, Seen and Heard International (Apr 2016)

Wagner TRISTAN UND ISOLDE – Longborough Festival 2015

“Every bit as good is Peter Wedd’s Tristan, sung with a clean, focused line in the central duet, and possessed of fierce intensity in the ravings of his dying hour. His tall slender demeanour is an additional asset”
Rupert Christiansen, The Telegraph (17th June 2015)

“The surprise here was the tenor Peter Wedd, a Tristan whose death-throes, regrets and self-recriminations were heroic yet lyrical. In a notoriously voice-shredding role, it was the character who was dying in vivid spasms of pain and sprays of sputum, and not the singer.”
Anna Picard, The Times (17th June 2015)

“The principals are remarkable, too, with Negus’s influence clearly again a contributory factor. Peter Wedd’s Tristan looks good and has the right dark hue and ardour to the voice as well as the solid technique to sing everything that Wagner throws at his hero in the third-act ravings”
Martin Kettle, The Guardian (17th June 2015)

“Peter Wedd’s Tristan is in almost every way superb: statuesque and chilly in the early scenes, pulsatingly emotional to the point of disintegration thereafter, but never losing control of his fine, slightly dry tenor. I’m largely immune to the rantings of the final act (and find its music, after the prelude, not much better than expert), but was riveted by Wedd’s musical portrait of deranged passion”
Stephen Walsh, The Arts Desk (17th June 2015)

“Her Tristan was a triumphant Peter Wedd, whose ardent, baritonal heldentenor was notable for the power of his lower register as well as warm sound he made in the upper part of his voice. Not only was there no break apparent between the chest and head voice, the only time I was conscious of him even using his head voice was a single falsetto note. Again, I wondered whether he was capable of projecting at anything softer than f, but in Act III he showed what he could do.
Paul Levy, The Arts Journal (13th June 2015)

“Longborough scores convincingly here, with Peter Wedd and Rachel Nicholls offering interpretations that are dramatically focused and vocally determined.  Wedd – who made a huge success of Lohengrin with Welsh National Opera two years ago – matches his earlier triumph with the even more demanding role of Wagner’s tragic knight; his sterling metal tone is always incisive, and he maintains his vocal impact right through to the end of the third-act mad scene.”
George Hall, The Stage (17th June 2015)

“Peter Wedd shows no fatigue as Tristan, with an appealing baritonal bark to his tenor.”
David Allen, New York Times (17th June 2015)

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Artist Manager

Sue Nicholls (Cambridge)
01223 706023

Assistant Artist Manager

Evie Parker (Cambridge)
01223 706414