Baritone Simon Wallfisch is in international demand as concert and opera singer.
Highlights of 2023 include his debut at the Deutsche Oper Berlin as 5 Richter in Korngold’s Das Wunder der Heliane. He also made his debut at the Royal Opera House Covent Garden as Flemish Deputy in Verdi’s Don Carlos and at Komische Oper Berlin as Kuusi in world premiere of the children’s Opera Nils Holgersson by Elena Kats Chernin Other roles at Komische Oper Berlin include Barbavano in Offenbach’s Die Banditen. In 2024 He will sing the title role with English Touring Opera’s production of Judith Weir’s Blond Eckbert.
Concert Highlights of 2022-2024 include Song Recitals at the Slowakian Philharmonic with Edward Rushton, Leeds Lieder/Opera North with Joseph Middleton, Leamington Festival with Iain Farrington and the Martinu String Quartet, debut as soloist with the Filharmonia Poznanska in Jonathan Dove’s In Exile.
In 2022 he appeared at Berlin Philharmonie Grosser Saal as baritone soloist in Orff’s Carmina Burana with Choralspace (Solé), he also performed in the Berlin Philharmonie Kammermusiksaal as soloist with Kammerphilharmonie Berlin in Max Reger’s ‘Der Einsiedler’ with the JEB Choir (Weissenberger).
In the UK, he curated for BBC Radio, and appeared as soloist with BBC Singers at London’s Barbican Centre a programme of songs and choral works written in the Terezin Concentration Camp 1942-1944, he also performed a song recital with Julius Drake at Temple Music of Ullmann and Haas songs. In 2020 he appeared as soloist with the Academy of St Martin in the Fields in a programme including Mahler, Korngold and Strauss orchestral songs.
Highly sought after as interpreter of contemporary music, he performed the world premiere of Sinfonie No. 5 by Jobst Liebrecht for Baritone Solo and Symphony Orchestra at Klangwerkstatt Berlin. He made his debut at the Wigmore Hall in 2017 singing a premiere by Alexander Goehr with the Nash Ensemble. In 2024 he will sing a new work by Jonathan Dove with the Philharmonia Poznanska and Judith Weir with English Touring Opera. In 2020 he performed the role of Hannah Before in Laura Kaminsky As One.
He is amassing a steady output of recordings, including 'Songs by Geoffrey Bush' (Lyrita 2015), Songs by Caplet, Honegger, Milhaud and Ravel (Nimbus 2017), 'Gesänge des Orients' (Nimbus 2018), Songs by Thea Musgrave (Lyrita 2019), Songs by Robin Holloway (Delphian 2019) Schumann Lieder (Resonus 2019), Brahms Lieder (Resonus 2020) and Kowalski Lieder (Nimbus 2023).
Notable past operatic performances include: FIERAMOSCA/Benvenuto Cellini (Staatsoper Nürnberg 2016) MARCELLO/La Boheme (Teatro Verdi Casciana Terme, Pisa 2016, PELLEAS/Pelléas et Mélisande and ALBERT/Werther (English Touring Opera 2015).
After studying Cello at the Royal College of Music London with Leonid Gorokhov, he gained a postgraduate diploma in voice from the Royal College of Music in 2006, where he studied with Russell Smythe. He played as a professional cellist for several years with orchestras including the English Chamber Orchestra, Royal Philharmonic Orchestra and London Symphony Orchestra. In 2006 Wallfisch continued his studies in Berlin (Hanns Eisler Hochschule für Musik 2006-2007) and Leipzig (Hochschule für Musik und Theater Felix Mendelssohn-Bartholdy 2007-2009), studying with Dr Favaro-Reuter, and in the Liedklasse of Wolfram Rieger. Subsequently he was engaged at the International Opera Studio of the Zurich Opera House (2009-2011). Teachers have included Raymond Connell and Snezana Brzacovic.
Der Deutsch - Britisch Bariton Simon Wallfisch debütiert 2023 an der Deutschen Oper Berlin (als 5 RICHTER in Das Wunder der Heliane, Korngold) sowie am Royal Opera House Covent Garden (als DEPUTATO FIAMMINGHI in Don Carlo, Verdi) und Komische Oper Berlin als Kuusi in Nils Holgerson (Kats-Cherrin) und Barbavano in Die Banditen (Offenbach). In der Berliner Philharmonie in 2022 tritt er als Solist in Orffs Carmina Burana mit Choralspace (Solé) auf. Ebenfalls 2022 tritt er als Solist mit den BBC Singers im Barbican Center London auf.
Als Konzert Sänger singt Simon Wallfisch 2024 in Leeds Lieder, Oxford Lieder, Leamington Festival, und viel mehr auf.
Als international gefragter Konzertsänger war er mit der Academy of St Martin in the Fields (Lieder von Strauss, Mahler und Korngold) sowie u.a. in der legendären Wigmore Hall, im Konzerthaus Berlin und in der Hamburger Laeiszhalle zu erleben. Auf der Opernbühne gab er zuletzt den FIERAMOSCA in Benvenuto Cellini /Berlioz (Staatsoper Nürnberg, 2017), MARCELLO in La Boheme (Puccini) (Teatro Verdi Casciana Terme, Pisa 2016), ESCAMILLO in La tragédie de Carmen von Peter Brook (Nederlandse Reisopera, Niederlande 2013), die Titelrolle in Pelléas et Mélisande (Debussy) sowie ALBERT in Werther (Massenet) (English Touring Opera, 2015).
Zu seinen zahlreichen CD-Veröffentlichungen mit PIanist Edward Rushton, die er z.T. selbst konzipiert, zählen Songs by Geoffrey Bush (Lyrita Records 2015), Lieder von Caplet, Honegger, Milhaud und Ravel (Nimbus Records, 2017), Gesänge des Orients (Nimbus, 2018), Lieder von Thea Musgrave (Lyrita, 2019), Lieder von Robin Holloway (Delphian Records, 2019), Brahms-Lieder (Resonus Classics, 2020), Schumann-Lieder (Resonus, 2019) sowie Kowalski-Lieder (Nimbus, 2023).
Nach seinem Konzertexamen als Cellist und Sänger am Royal College of Music setzte Simon Wallfisch seine Ausbildung ab 2006 an der Hochschule für Musik Hanns Eisler Berlin und ab 2007 an der Leipziger Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ fort. Daran schloss sich 2009 bis 2011 ein Engagement am Internationalen Opernstudio der Oper Zürich an.
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★★★★★
Photographer: Mark Allan
CD Aufnahmen
Wenn der über weite Tonlagen verfügende Sänger sekundenschnell von hartkantiger Akzentuierung zu lyrischer Stimmungshaftigkeit von bezauberndem Klangreiz wechselt und der Pianist die komplexen Akkordballungen mit grösster rhythmischer Präzision und zugleich feinster dynamischer Abstufung intoniert, erzeugen sie “Unwiderstehliche Schönheit” wie der Titel eines dieser Lieder in Slow-Fox-Manier lautet.
Musik und Theater Magazin (CH) (Walter Labhart)
"Mit Fortschreiten des Programms bewundert man die interpretatorische Wandlungsfähigkeit des Sängers immer mehr, der in dem Pianisten einen sowohl unterstützenden wie herausfordernden Begleiter hat."
(Lyrita Records / Geoffrey Bush Songs)
Klassik Heute (Ekkehard Pluta)
Simon Wallfisch singt die Lieder mit markant granulierter Stimme, Ausdruck geht ihm vor Stimmschönheit. Das steht den expressiven Inhalten der Lieder gut an. Für die rare Entdeckungsfahrt, dem Repertoirewert des Albums ist dem engagierten Allrounder ohnedies uneingeschränkter Dank zu zollen.
Online Merker Dr. Ingobert Waltenberger
CD Reviews English
"...Simon Wallfisch and Edward Rushton prove eloquent, expert guides. Wallfisch’s baritone is a sturdy, authoritative instrument... The baritone offers impressive conviction, a natural sense of communication and a broad dynamic range, both from song to song and within each number..."
Gramophone (Hugo Shirley) - Brahms - Songs of Loss and Betrayal Resonus Classics 2020
"...There’s no doubting the quality of his artistry. Dynamics are immaculately controlled... Wallfisch has a consistently fine way with words... his ceaseless shifts in tone create characterisations of quite exceptional vividness..."
Gramophone (Tim Ashley) - Schumann - Songs of Love and Death Resonus Classics 2019
"I was impressed by the clear, confident singing of Simon Wallfisch. Every word is defined; every nuance of the melody is presented with confidence and understanding. He has mastered the sentiment and literary detail and adapts perfectly his vocal style to the various moods of each song. His voice is controlled and never strained. Wallfisch makes an ideal artist for English song recitals. Edward Rushton provides a consistently sympathetic accompaniment to all these songs." (Lyrita Records / Geoffrey Bush Songs)
MusicWeb-International (John France) - Songs of Geoffrey Bush, Lyrita Records 2015
Opera Reviews English:
(Werther / English Touring Opera 2015)
“Simon Wallfisch is a warm-voiced, strong and dependable Albert for whom we also feel deeply sorry; he truly loves Charlotte, and his bitter sarcasm as he hands her the pistols to give to Werther (knowing she will not give them to him) is harrowing.”
Bachtrack.com
"Wallfisch raises the onstage energy every time he appears and reminds us that this is an opera of scale."
Whatsonstage.com
"The standout performance, in fact, comes from Simon Wallfisch who, with his own ringing baritone and excellent enunciation, manages to shine in the role of Albert."
musicomh.com (Sam Smith)
"As Charlotte’s betrothed, Albert, Simon Wallfisch seemed a neater fit for his role, and contributed a much needed intimation of inner unrest, doubt and tension; there was an energy and buzz every time Albert was on stage. His voice was well-supported and communicated with directness; this was a confident performance, musically and dramatically."
Opera Today (Claire Seymour)
"Simon Wallfisch, always charismatic, accomplished the unusual task of making husband Albert more romantic than Werther."
Opera Now (Robert Thicknesse)
Pelléas et Mélisande 2013 (Grimeborne), 2015 (ETO)
"Simon Wallfisch’s Pelléas was a joy to hear, his long phrases, his excellent french and his commitment to a role that has defeated many a big name… a force to reckon with in this particular style as a baryton-martin."
Auditorium Magazine (Eduardo Jacobo Bennaroch)
"Simon Wallfisch brought a gauche, earnest energy to Pelléas that made the character painfully believable. He has a voice tailor-made for the role."
Opera Magazine (Yehuda Shapero)
"Wallfisch provided some stunningly beautiful singing and finely modulated phrases, responding to Debussy's subtle music.
[He was] an ardent Pelleas. All wide-eyed innocence and beautiful tone,
Wallfisch's Pelleas was one of the most beautifully sung accounts of the role that I have come across.
"...thanks to an extraordinary cast.
Simon Wallfisch invests Pelléas with a
wholly endearing Pierrot-like shyness."
Evening Standard (Kieron Quirke)
"The appropriately youthful Simon Wallfisch as Pelléas copes effortlessly with Debussy's taxing baryton-martin writing and sustains his energy throughout some intensely physical acting."
What's on stage (Mark Valencia)
"Simon Wallfisch was a delight as her unhappy lover Pelléas, singing with tone and tenderness, while conveying a tangible eroticism on stage which gave their forbidden love a profound and believable, sensuality."
One Stop Arts (Charlotte Valeri)