Kathryn Morrison Management                          -
 
 
 
 
 
 
 
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PETER COLEMAN-WRIGHT AO
(BARITONE)
 
 
Peter Coleman-Wright is widely considered one of the most versatile singers in the world today, equally at home in opera, concert and recital.  He made his debut with the Glyndebourne Festival as Guglielmo (Così fan tutte) subsequently singing Demetrius (A Midsummer Night’s Dream) and Sid (Albert Herring) and most recently in his role debut as Pizarro (Fidelio).
 
He debuted with English National Opera as Figaro (The Barber of Seville) and has since sung The Forester (The Cunning Little Vixen), Michele (Il Tabarro), Scarpia (Tosca), Don Giovanni,Eugene Onegin, Billy Budd, The Prince of Homburg, The Prisoner, John (Inquest of Love), Colin (The Plumbers’ Gift) and the title role in Caligula.  At the Royal Opera House Covent Garden roles include Dandini (La cenerentola), Billy Budd, Papageno, Don Alvaro (Il Viaggio a Reims), Marcello (La bohème), Ping (Turandot), The Ballad Singer (Paul Bunyan) and Gunther (Götterdämmerung).
 
 Peter Coleman-Wright is a frequent guest with Opera Australia, with whom he has sung Onegin, Don Giovanni, Count Almaviva, Chorebe (Les Troyens), Orestes (Iphigénie en Tauride), Wolfram (Tannhäuser), Golaud (Pelléas et Mélisande), Germont (La Traviata), Billy Budd (MO and Green Room Awards), the title role in Sondheim’s Sweeney Todd (Helpmann Award) and the seven baritone roles in Death in Venice (Helpmann Award),  Mandryka (Arabella), Pizarro,  Balstrode (Peter Grimes) and Macbeth (Macbeth).
 
In Europe he has guested with the Netherlands Opera,in Bordeaux, Venice, Munich, Geneva, Paris, Flanders and at the Aix-en Provence and Bregenz Festivals.
 
In North America guest appearances include Vancouver, Santa Fe, New York City Opera, Houston and the Metropolitan Opera.
 
He has performed throughout Britain with all the leading orchestras, in the major European capitals, at New York’s Carnegie and Avery Fisher Halls and is a frequent performer with the Australian Symphony Orchestras.
 
His most recent engagements include performances at the Metropolitan Opera, ENO, OA, Royal Opera/Covent Garden, La Scala/Milan, Halle Orchestra, London Symphony Orchestra, London Philharmonic Orchestra, in Amsterdam, Madrid, Sydney Symphony Orchestra, a national tour with Musica Viva, Harry Joy in the world premiere of Brett Dean’s Bliss for OA, also performed at the 2010 Edinburgh Festival (Green Room Award) and Beckmesser in Die Meistersinger at the Royal Opera House. Peter holds an honorary Doctor of Music conferred by the Victorian College of the Arts.
 
RECORDINGS:
Peter Coleman-Wright has recorded for EMI, Chandos, Telarc, Hyperion, LSO Live and ABC Classics. Recordings include Oedipus Rex, Mass of Life, Fennimore and Gerda, Delius’Requiem, The Pilgrim’s Progress, Paul Bunyan, Owen Wingrave, Benvenuto Cellini and Persuasian and Seduction with Cheryl Barker.
LISTENING:
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Caligula in Rehearsal
Benedict Andrews directs the cast of Caligula in rehearsal ahead of its premiere at the London Coliseum on the 25th of May.May 25, 29, 31 & June 7, 9, 14 at 7.30pm6 performances. Running time: 2...
 
 
 
 
 
Peter Coleman-Wright, Kathryn Morrison Management
                   Scarpia (Opera Australia)
 
 
 
Peter Coleman-Wright, Kathryn Morrison Management
 
 
 
 
 
Peter Coleman-Wright, Kathryn Morrison Management
           Calligula (English National Opera)
 
 
 
 
 
Peter Coleman-Wright, Kathryn Morrison Management
           Marriage of Figaro (Opera Australia)
 
 
 
 
Peter Coleman-Wright, Kathryn Morrison Management
 
           Bliss (Opera Australia and            Edinburgh Festival)     
 
 
 
 
 
Peter Coleman-Wright, Kathryn Morrison Management
 
 
 
 
 
Peter Coleman-Wright, Kathryn Morrison Management
            Calligula (English National Opera)
 
 
 
 
 
 
Peter Coleman-Wright, Kathryn Morrison Management
                   Peter Grimes
 
To find out more about Peter Coleman-Wright, connect to his official webpage:
 
 
 
 
 
 
 
 
LISTENING:
 
 
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The Marriage Of Figaro | Preview | Sunday, 13 November, 2pm, ABC1
http://abc.net.au/arts/ ABC TV and Opera Australia have forged a new partnership to benefit all lovers of opera, and over the next three years 15 of the most recent and popular operas will be broadcas...
 
 
 
 
 
 
 
 
 
 
 
 
REVIEWS:
Caligula/English National Opera/July 2012
“Australian baritone Peter Coleman-Wright wowed audiences at the English National Opera with his twisted tour-de-force portrayal..”
Limelight Magazine, July 2012
 
“Peter Coleman-Wright, though, is electrifying as Caligula. He inhabits the character’s irrational threats and unhinged cruelty to chilling effect, as appalling when kitted out in mucky underwear or full drag as when intimidating his would-be conspirators. He puts Glanert’s demanding score across with unhesitating conviction,”
The Guardian, July 2012
 
“The cast is consistently superb: Coleman-Wright is outstanding in the gruelling title role”
The Times,
“Coleman-Wright’s performance is a tour de force: grotesque and mesmerising”
Musical Pointers
 “To describe the title role of Caligula as a tour-de-force is an understatement. The character is seldom absent from the stage and the part requires colossal vocal stamina, as well as a musical and dramatic intelligence to bring out the pure evil of the dictator. Peter Coleman-Wright possessed every one of these skills to an almost disturbing degree. Although I have only heard the excellent Frankfurt recording, I cannot believe Holland surpassed Coleman-Wright’s interpretation, and any subsequent Caligulas face a very tall order indeed. His acting alone was faultless, but this was supported by singing of the highest order, pitch-perfect intonation and clear diction, though he did sound (not
inappropriately) weary towards the end. His grotesque portrayal in Act II was especially memorable, spitting out his food at his guests, spilling wine over them, and finally ripping off the tablecloth, sending all the food onto the floor, and fashioning a pseudo Roman toga out of it.”
Opera Britannia
 
 
Harry Joy/Bliss/Edinburgh Festival Theatre/August 2010
“It provides a wonderful opportunity for the Australian baritone Peter Coleman-Wright, who bestrides the stage in the role.”
Paul Driver, Sunday Times, 12 September 2010
 
“Coleman-Wright’s genial, weary, innocent Harry … superlative.”
Anna Picard, Independent on Sunday, 12 September 2010
“Peter Coleman-Wright’s lead role is brave, ballsy and convincing.”
Kenneth Walton, Scotsman, 3 September 2010
 
“Peter Coleman-Wright makes Harry sympathetic without sentimentalising his faults,”
Rupert Christiansen, Telegraph, 6 September, 2010
 
“Peter Coleman-Wright’s Harry … swept the stage.”
Andrew Clark, Financial Times, 5 September, 2010
 
“Peter Coleman-Wright presents Harry’s erratic spiritual journey with sustained energy.”
George Hall, Guardian UK, 3 September 2010
 
 
Harry Joy/Bliss/Opera Australia/Edinburgh Festival/September 2010
Peter Coleman Wright’s portrayal of the central figure is masterly.  He acts and sings with strength and dignity, adding a touch of grandeur to the sufferings of an everyman.”
 Simon Thompson, Seen And Heard UK Opera Review, 8 September 2010
 
“Peter Coleman-Wright makes Harry sympathetic without sentimentalising his faults,”
 Rupert Christiansen, Telegraph, 6 September, 2010
"Peter Coleman-Wright presents Harry’s erratic spiritual journey with sustained energy.”
 George Hall, The Guardian, 4 September 2010
The Count/Marriage of Figaro/Opera Australia/June 2010
“Peter Coleman-Wright always does a fine line in male arrogance and was vocally aristocratic and dramatically supercilious, creating a distinctly human type of obnoxiousness.”
 Peter McCallum, July 26, 2010
 
Harry Joy/Bliss/Opera Australia/March 2010
“The role of Harry Joy was written specifically for baritone Peter Coleman-Wright.  It was another triumph for this outstanding artist.  Secure and supple across his range, he sang with burnished tonal warmth and resounding power.  Coleman-Wright’s energetic characterisation also made Harry into a less pathetic protagonist than he is in the novel and film, while still capturing his eccentricity.”
Murray Black, The Australian, March 15, 2010
“...Australian baritone Peter Coleman-Wright gives a tour de force performance.”
The Sunday Telegraph, March 21, 2010
 
 
“Coleman-Wright seldom leaves the stage and is marvellous throughout.”
Elissa Blake,The SunHerald, March 21, 2010
 
“Peter Coleman-Wright is the apparently indefatigable star of the show, however, and is rarely absent from the heart of the action.  As well as singing the role beautifully, he acts Harry Joy in all his bravado, bewilderment and battiness with both comedy and pathos.  It’s a wonderful performance and he deserved his solo standing ovation on opening night – it won’t the last.”
Diana Simmonds, Stage Noise, March 19, 2010
“... Peter Coleman-Wright, definitive in the central role of Harry Joy...”
North Shore Times, March 19, 2010
 
The first standing ovation was for Peter Coleman-Wright’s warm, wry, beautifully sung performance in the role of Harry Joy...”  “Coleman-Wright is rarely off the stage and his portrayal is something of a tour de force...”
Peter McCallum, The Sydney Morning Herald, March 15, 2010
Standing ovations for Peter Coleman-Wright, as well as conductor Elgar Howath (who first conducted Ligeti’s Le Grand Macabre) and orchestra, were a just reward for stunning achievements...”
Peter Burdon, The Advertiser, March 16, 2010
 
“In the role of Harry, Peter Cooleman-Wright has a complex character and massive vocal demands.  He’s also on stage for practically every minute of the lengthy work’s duration.  He rises to the challenge with predictable grit and determination.”
Peter Burdon, Adelaide Advertiser, 17 March, 2010
“As much an actor as singer”
“Peter Coleman-Wright excels in Opera Australia’s production of Brett Dean’s challenging Bliss”
“... a central performance from Peter Coleman-Wright where the singing and acting are seamless and there is an absolute sense of conviction through all the loops and lacunae of this difficult story of madness, betrayal and cancer-inducing commerce...”
“It’s Peter Coleman-Wright’s show, however, and his Harry Joy is wonderfully alive as well as beautifully sung.  Coleman-Wright is a true singer-actor and he gets the moustached Seventies lair, the quick-mouthed slob, behind the suffering common man, without surrendering either quality.  He gives a marvellous operatic performance, sustaining both sympathy and drama...”
“... at every point it frames and supports, in a way that is wholly appropriate, the superlativeness of Peter Coleman-Wright’s performance.”
 Peter Craven, The Spectator, 1 May, 2010
“On stage almost continuously, Peter Coleman-Wright gave a compelling performance as the swaggering, staggering ad man. Tracing Harry’s  journey from executive to drop out, the baritone was equally convincing as a stereotypical Aussie bloke and conflicted anti-hero.”
John Allison, Opera July 2010
 
Balstrode/Peter Grimes/Opera Australia/October 2009
“...Peter Coleman-Wright’s Balstrode, commanding and clear of purpose.”
Deborah Jones, Opera, February 2010
“Peter Coleman-Wright...a flinty powerful Balstrode...”
Peter McCallum, The Sydney Morning Herald, 19 October, 2009
“...Peter Coleman-Wright provide (sic) superb vocal and dramatic support.”
 Melissa Lesnie, Rouse Hill Times, 21 October, 2009
“...baritone Peter Coleman-Wright impresses with his richly coloured timbre and splendid articulation.”
Murray Black, The Australian, 20 October, 2009
 
“Peter Coleman-Wright made a fine Balstrode, striving to bring common sense and rationality to the Borough... His strong voice and dramatic presence pervaded the entire opera.”
David M. Rice, Classicalsource.com, 15 October, 2009
 
Götterdämmerung, Royal Opera House, Covent Garden
“Coleman-Wright's strong, firm baritone is the key to his musical and dramatic success in portraying Gunther, a character more in love with PR and image than with personal commitment. Weakness of voice would be inept as a tool of characterisation here. It is the contrast between the definition and public resolve of his voice and the time-serving expediency of his actions that transmits a deeper sense of Gunther's flaws, as he paces like a Regency dandy.”
Sydney Morning Herald / Covell
 
“Peter Coleman-Wright gives a marvellously creepy interpretation of Gunther as an insecure, spineless, nouveau-riche dandy. And Mihoko Fujimura’s beautifully sung Waltraute is a compelling study of panic verging on hysteria.”
Times/Morrison
 
“As Gunther and Gutrune, Peter Coleman-Wright and Emily Magee sang firmly and characterised vividly.”
Telegraph/ Christiansen
 
“Peter Coleman-Wright makes the best of a Gunther inexplicably clad like Oscar Wilde and Emily Magee of the largely thankless role of Gutrune.”
Observer / Holden

“Peter Coleman-Wright just about survives Warner’s clichéd portrayal of Gunther as an effete, overdressed ponce incestuously in love with his sister (Emily Magee), thanks to his dark-toned singing.”
Sunday Times / Canning
 
“… and Peter Coleman-Wright’s preening Gunther is first-rate.”
Sunday Telegraph / John Allison
“Emily Magee and Peter Coleman-Wright made a suitably venal pair of Gibichung siblings, never out of love with one another but doing their royal duty. The high standard of the acting by all the principals is at odds with the general obfuscation around them.”
Seen and Heard / Pritchard