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William Tell |    Victorian Opera

 “Under a mass of old-man hair, beard and make-up, an unrecognisable Teddy Tahu Rhodes showed off a bass that’s as rich as ever as the taciturn, dignified Melcthal.”

The New Arts Hub
Patricia Maunder
June 20, 2018


“In his portrayal of community elder and martyr Melchtal, Teddy Tahu Rhodes displays an impressive vocal and dramatic gravitas.”

Tony Way
July 15, 2018


“It may be difficult to be recognise illustrious bass Teddy Tahu Rhodes in hermit-like bedraggled long grey hair and beard, but as soon as the first sonorous note pours forth there is no doubt to the singer’s identity. Making a welcome Melbourne stage return, Rhodes’ mighty bass voice powers through the space for an all too brief appearance as the ill-fated Melcthal, father of Arnold.”

Simon Parris: Man in Chair
Simon Parris
July 15, 2018

Meet Me In The Middle | Adelaide Festival

“… anyone hearing Tahu Rhodes for the first time could only have been singly spell bounded by the delicious delights of his singing. It is indeed a voice to die for.”

Peter Maddern
Kryztoff RAW
June 23, 2013

“The people stood and roared. Say no more.”

Peter Burdon
Adelaide Now
June 22, 2013



“This concert left you with a smile on your face and a song in your heart…...Rhode’s had the audiences houting for more after he belted out the ‘Toreador Song’.” 

Kym Clayton
The Barefoot Review - Adelaide Theatre Reviews
June 22, 2013


“The musical might of Teddy Tahu Rhodes is formidable. Every single time he opens his mouth….. the audience burst into spontaneous applause. Allow him to sing ‘Toreador’ from Carmen and the sell out audience at the Adelaide Festival Theatre will go wild. His rendition of ‘Stars’ from Les Misérables makes you yearn for a recasting of the movie, and his version of Leonard Cohen’s ‘Hallelujah’ is mournfully beautiful.”

Rowan James
June 22, 2013

South Pacific | Opera Australia (Melbourne)

“... Rhodes’ masculine presence set fire to the stage... You haven’t heard Some Enchanted Evening or This Nearly Was Mine, not really, until you’ve heard Teddy wrapping his rich, resonant baritone around them.”

Cameron Woodhead
The Age
September 17, 2012

South Pacific | Opera Australia (Sydney)

“...the silkily booming resonance of Rhodes’ rich bass-baritone was such that you could feel a genuine ripple of awed excitement go through the crowd... it was an excellent performance... sympathetic, romantic and even having a warm sense of humour.”

The Australian
August 12, 2012

”...the intensity and power of Teddy Tahu Rhodes’s heart-stopping bass-baritone... In his first musical Tahu Rhodes is outstanding... Tahu Rhodes brings a sense of authority and sincerity to the role.”

Stage Noise
August 13, 2012

“Rhodes’s voice is so monumental as to punch you back in your seat...”

John Shand
Sydney Morning Herald
August 13, 2012

“...Rhodes puts in an appealing performance of great warmth.”

Clive Paget
Limelight Magazine
August 13, 2012

Don Giovanni | Opera Australia live Recording

“Rhodes himself who was born to sing this role...”

Murray Black
August 2012

Don Giovanni | Opera Australia

“Tahu Rhodes is supremely at ease as the celebrated philanderer. Dramatically, he gives a centred performance…"

Sybil Nolan
Herald Sun
December 5, 2011

National Encore Tour | David Hobson and Teddy Tahu Rhodes

“Teddy Tahu Rhodes was in top form… suppleness, resonance and exactness of pitch… Without a hint of strain, he produced a stream of pure and perfectly projected vocal sound that was heart to particularly fine advantage in Schumann’s Widmung.”

Neville Cohn
The West Australian
November 1, 2011

Serious Songs | ABC Classics

“German composer Detlev Glanert… It is a compelling reworking of the original, performed here with considerable sensitivity by Teddy Tahu Rhodes and the Tasmanian Symphony Orchestra… The Barber receives a particularly fine performance with the ASQ at its best and Rhodes showing an impressive range of vocal colour and nuance.”

Mark Coughlan
The Weekend Australian
June 18 – 19, 2011

Tosca | West Australian Opera

“In his debut in the role, Teddy Tahu Rhodes, with an astonishingly powerful yet subtle voice and a genuinely menacing stage presence, was an utterly memorable and repulsive Scarpia. The second act, which explores Scarpia’s sadistic and lustful relationship with Tosca, was compelling and chilling.”

Paul Hopwood
The Australian
April 4, 2011

“…Tahu Rhodes’ swaggering, arrogant Scarpia fills the stage whenever he’s on it… Tahu Rhodes inhabits the character of Scarpia with frightening ease, his rich, powerful baritone registering the multiple layers of irony the modern setting makes possible with a withering existential abandon, Milton’s Satan personified.”

William Yeoman
The West Australian
April 4, 2011

“The real vocal and dramatic impact of the night came from Teddy Tahu Rhodes’s assumption of Scarpia for the first time. He made an imposing and chilling entry, tall, bald, looking dour and ruthless; singing with great tone and depth in a voice full of menace, this Scarpia has no charm at all, which fits right in with the libretto. His seduction of Tosca is a full-on sexual assault, as unapologetic as the lyrics suggest.”

Sandra Bowdler
Opera Britannia
April 6, 2011

Bach Arias | ABC Classics

“Lovers of Bach will want to add this to their collection; followers of Teddy Tahu Rhodes should rejoice in hearing this enrichment of his repertoire.”

Anthony Clarke
ABC Limelight
September 2010

Carmen (film) | Metropolitan Opera

“...Escamillo – here assuredly and musically well sung by New Zealand’s Teddy Tahu Rhodes.”

Michael Shmith
The Age
February 4, 2010

Marriage of Figaro | Cincinatti Opera

“Teddy Tahu Rhodes’s Count was an exuberant, sexy philanderer with a golden voice full of textural insight.”

Charles H. Parsons
November 2009

A Streetcar Named Desire | Opera Australia

“Teddy Tahu Rhodes is a powerhouse and commands the stage. His strong baritone is perfect for the role of the passionate, sexually domineering and brutal Stanley. He has all the strength and rage required to drive the story to its horrible, but inevitable, end.”

John Hay-MacKenzie
Sunday Herald Sun
December 6, 2009


“Teddy Tahu Rhodes portrayed a stern, self-controlled Elijah. It is enough was one of many high points, featuring fine cello obbligato.”

Elizabeth Ruthven
The Mercury
November 3, 2009

You’ll Never Walk Alone | ABC Classics

“…the New Zealand baritone, has a voice that fits him to a T: It’s strikingly beautiful, with a rough-hewn quality… Think firm oak beams touched by sunlight… in Vaughan Williams’s nostalgically poignant “Youth and Love” – it was beautiful.”

Anne Midgette
Washington Post
May 14, 2009

Antony and Cleopatra | New York City Opera

“Teddy Tahu Rhodes… He is a striking man who produces a big, burnished bass-baritone sound.”

Fred Cohn
Opera News
April 2009

“Teddy Tahu Rhodes, whose Met debut last winter as Ned Keene in Peter Grimes was striking even when surrounded by a huge, excellent cast, was just as impressive in this Shakespearean colossus of a leading role. If the City opera still has its glorious production of Mefistofele, this is the man to renew it; if it hasn’t, some company should present one. He has the presence and the range, the power and the legato for it. His Antony was both leader of men and pensive, even depressed, as he considered the ruin his passions have led him to in hollow, reflective phrases.”

John Yohalem
Opera Today
January 19, 2009

“…Teddy Tahu Rhodes… His charisma and resonant timbre has propelled Rhodes’ rapid rise in the opera world. His is the ideal sound for the virile warrior torn between the call to battle and his consuming romantic passion.”

Eric Myers
Variety Reviews
January 16, 2009

Peter Grimes | The Metropolitan Opera

“Most striking was Teddy Tahu Rhodes, making his Met debut as Ned Keene. This young New Zealand baritone has generated a lot of buzz for his good looks, but it was his full, healthy singing that stole the show.”

Anne Midgette
Washington Post
March 2008

“There was a notable debut by the New Zealand baritone Teddy Tahu Rhodes, robust-voiced and swaggering as Ned Keene, the apothecary who peddles quack remedies to his neighbours.”

Anthony Tommasini
The New York Times
March 2008

“Teddy Tahu Rhodes makes a dapper debut as the schemer Ned Keene”.

Martin Bernheimer
Financial Times
March 2008

“The evening’s most stunning vocal performance, though, came from baritone Teddy Tahu Rhodes, who has been inexplicably absent from San Francisco ever since his unforgettable 2000 debut as Joe de Rocher in the second cast of Jake Heggie’s “Dead Man Walking.” Rhodes combined robust singing with an alarmingly charismatic stage presence to make a usually minor character – the village apothecary Ned Keene – seem like a central focus of the drama.”

Joshua Kosman
San Francisco Chronicle
March 2008

“And the athletic presence that New Zealand baritone Teddy Tahu Rhodes, in an effective house debut, brought to Ned Keene stood in provocative contrast to the apothecary’s moral weakness.”

Fred Cohn
Opera News
May 2008

A Streetcar Named Desire | Opera Australia

“Teddy Tahu Rhodes as the brutal Stan Kowalski bristled with primitive energy, effectively projecting the threatening vocal persona…”

Peter McCallum
Sydney Morning Herald
October 6, 2007

“Crackling with sex-appeal, rich-voiced and terrifyingly menacing, Teddy Tahu Rhodes… gives a towering performance.”

Bill Stephens
The Canberra Review
August 16, 2007

“Teddy Tahu Rhodes exudes animal magnetism as the violent Stanley.”

The Sunday Telegraph
August 9, 2007