Turandot, Bard Music Festival, 2016. Cond. Leon Botstein
Other wonderful turns were given by silver-voiced soprano Cecilia Violetta López (devastating as the doomed slave girl Liù); bass-baritone Paul Whelan as the blind king Timur…
Charles Geyer, La Scena Musicale, August 19 2016
Hamlet, Opera Gothenburg, Stephen Langridge, Henrik Shaeffer. April 9, 2016
King Claudius (Paul Whelan) gave a convincing portrait of a two-faced politician; the setting of his Act 1 speech looked like the acceptance speech of a US presidential candidate, complete with a beaming First Lady-to-be. Outwardly charming and statesmanlike, he was privately more brutal and depraved, as shown in the Act 2 duet with Gertrude. Mr Whelan’s vocal delivery heightened this contrast, with the smooth, rounded sound of Act 1 giving way to a crueller, angrier bass in the Act 2 duet.
~Niklas Smith, Scene and Heard International 20/04/2016
Vocal splendour also from Paul Whelan as Claudius.
King Claudius is interpreted by Paul Whelan, bass baritone. This interpretation also feels very convincing and his dark voice reaches all corners of the room.
~ P4 Sveriges Radio
All roles large and small are well cast (—) King Claudius, Paul Whelan, also demonstrates the authority and temperament of a regent.
St Matthew Passion, Bach Choir, Florilegium, David Hill, Royal Festival Hall, March 20 2016
“Bass Paul Whelan stood in for an indisposed Matthew Best as Christ. Tall and bearded, he is an imposing presence on the stage, and his voice is suitably commanding.”
~Gavin Dixon, The Arts Desk, March 22, 2016
A Midsummer Night’s Dream, Grand Theatre de Geneve,
Paul Whelan.. wonderfully sonorous
~Klaus Kalchschmid, Klassikinfo.de November 21, 2015
Magic Flute, Hawaii Opera Theatre
Paul Whelan (Sarastro) physically dominates every scene he appears in, towering over the other members of the cast like a giant. Whelan’s size suggests that Sarastro is a god-like creature rather than a mortal, and that the mystical organization he heads has otherworldly origins.
~John Berger, Honolulu Pulse (October 13, 2015)
I Puritani, Victorian Opera
New Zealand Bass Paul Whelan as Sir Giorgio had a commanding presence. He delivered us a multi-faceted statesman – assured and confident at the same time as tender and loving to Elvira. His voice is rich and sonorous with great power; his character assertive and secure.
~Gregory Pritchard, Concertonet.com (July 2015)
Excellent singing also from Paul Whelan as Elvira’s kindly uncle, Sir Giorgio…
~Michael Shmith, The Sydney Morning Herald (3 July 2015)
The other men were admirable too, especially Paul Whelan (Giorgio Valton), an immensely tall young New Zealander who recently sang the role for the first time with the Boston Lyric Opera. His long Act One duet with Elvira and the aria ‘Cinta di fiori’, which precedes her Act Two mad scene, were highlights of the evening.
~Peter Rose, Australian Book Review (6 July 2015)
Solid support was provided by baritone and bass Nathan Lay and Paul Whelan, ….“Cinta di fiori” was lovingly done with the repeated ascending and descending intervals carefully placed.
~Simon Holden, Bachtrack.com (4 July 2015)
As Elvira’s warm and fair-minded uncle, Sir Giorgio Valton (not much sense of a rigid Cromwellian Puritan there), Paul Whelan gave a resonant account of his arias and ensembles. His character drives much of the political element of the opera, but is really more important in providing an occasion for wonderful music. His duets with Elvira’s other suitor, the jealous Sir Ricardo (Nathan Lay) and his brother, Lord Gualtiero (Jeremy Kleeman) were splendidly sung by all three.
~Heather Levistone, Classic Melbourne, (7 July 2015)
As Elvira’s uncle Sir Giorgio Valton, bass-baritone Paul Whelan’s experience in the role showed, portraying a compassionate and trusted mediating force with exemplary diction and a fireside-warmth of tone.
~Opera Chaser (4 July 2015)
Jeremy Kleeman and Paul Whelan offered strong vocal characterisations as the Governor-General and his brother.
~Peter Burch, The Australian (6 July 2015)
Other standout performances came from Nathan Lay as the Puritan Sir Riccardo and Paul Whelan as Elvira’s uncle Sir Giorgio. Lay’s rich lower register complemented Whelan’s warm tone remarkably well, especially in the second act.
~Michael Hammelmann, Cutcommon.com (July 2015)
Paul Whelan’s Titurel, sung from high above the orchestra near the organ, was especially powerful.
~David Karlin, Bachtrack
The soloists were outstanding, every one an experienced, totally assured Wagner singer and the drama was fiercely etched…
~Andrew Clements, The Guardian
Paul Whelan was a sonorous Titurel.
~Alexander Campbell, Classical Source
The Flying Dutchman, Hawaii Opera Theater
Bass-baritone Paul Whelan (Daland, Senta’s father)… in (his) HOT debut, delivered (a) fine performance as well.
~Ruth Bingham, Honolulu Pulse
I Puritani, Boston Lyric Opera
His voluminous bass-baritone was expressively sympathetic in their scenes together.
~Angelo Mao, Boston Classical Review
Whelan’s instrument was remarkably clear throughout its range; he provided, both aurally and visually, a sweet, powerful and awkward opposition to Coburn’s natural grace. His giddy excitement at her happiness balanced his sorrow at her madness.
~Joseph E. Morgan, The Boston Musical Intelligencer
Paul Whelan is a commanding presence as Sir George Walton, Elvira’s sympathetic uncle, stalwart in his “Liberty Duet” with Richard.
~Jeffrey Gantz, The Boston Globe
Luckily bass-baritone Paul Whelan (another rising star) was given a bit more rein as Elvira’s commanding uncle, and used it to full advantage; with Cook’s help he made the opera’s famous “Liberty Duet” sternly rousing.
~Thomas Garvey, The Hub Review
Bass Paul Whelan, singing the role of her uncle and supporter Giorgio, sang with force and intelligence as well, his voice pushed to equally demanding extremes. His aria “Cinta di fiori,” at a pivotal moment in act two, had real passion.
~Keith Powers, Milford Daily News
Macbeth, Opera North
Paul Whelan is a stalwart and focused Banquo.
~Hilary Finch, The Times
The minor parts are strongly cast, headed by Paul Whelan’s authoritative Banquo.
~Ron Simpson, What’s on Stage
Paul Whelan’s rich baritone and his attention to fine details turn his Banquo into a major presence.
~Richard Wilcocks, Bachtrack
Paul Whelan’s tall, charismatic Banquo… comes into his own during his supernatural second coming, nonchalantly discarding his jacket, shirt and waistcoat in front of a terrified Macbeth.
~Graham Rickson, The Arts Desk
Paul Whelan as Banquo and Jung Soo Yun as Macduff, added huge depth of feeling to their characters with their glorious voices
~Richard Trindler, Yorkshire times
The tall and imposing figure of New Zealand bass Paul Whelan in his Opera North debut creates a richly sonorous Banquo in his opening duet with Macbeth and really comes into his own as the Ghost of Banquo.
Excellent singing is showcased throughout. Bela Perencz is an imposing Macbeth with a stunning voice that soars across the theatre and he is equally matched by Paul Whelan as Banquo.
Paul Whelan sings Banquo with a rich baritone voice.
~Gavin Englebrecht, The Northern Echo
This ambitious and imaginative production is blessed with two powerful leads […] and notable performances from Paul Whelan.
~Paul Hindle, Nottingham Post
The Rake’s Progress, Auckland Philharmonia Orchestra
Paul Whelan mediated charm with chill as Nick Shadow, the smoothest of villains. He was seductively watchable, enticing the hapless Tom to ignominy and death.
~William Dart, NZ Herald
Wagner Concert, Royal Liverpool Philharmonic
…the befuddlement of a sensationally headstrong, young King Mark (baritone Paul Whelan, whose wondrous tone resounds from top to bottom of his register).
~Roderick Dunnett, The Arts Desk