Richard Wiegold - Bass

Born in South Wales, Richard Wiegold trained at the RNCM and is continuing his studies with Anthony Roden. He made his professional opera debut as Gardener Un Giorno di Regno at the 2001 Buxton Festival.

Richard’s recent operatic highlights included Reinmar von Zweter for the Lyric Opera of Chicago (cond. Andrew Davis), Schwarz Die Meistersinger, Dr. Grenvil La Traviata, King Marke (cover) Tristan und Isolde and Comte des Grieux (cover) for the Royal Opera House Covent Garden, Don Bartolo Le Nozze di Figaro, Don Basilio Il Barbiere di Siviglia, Melchtal/Walter Guillaume Tell, Priest Moses und Aaron and Vairochana Wagner Dream all for Welsh National Opera, Gurnemanz Parsifal at Estonian National Opera in Tallinn, Reinmar von Zweter Tannhäuser and Colonna Rienzi at the Theatre du Capitole in Toulouse, Banquo Macbeth for Opera Palm Beach, Timur Turandot for Utah Opera in Salt Lake City, Il Commendatore Don Giovanni for Opera Colorado and at the Lyric Opera of Kansas, Sarastro Die Zauberflöte for Opéra Saint-Étienne, L’homme a la fenetre/le petit Vieux/le Mendiant in Martinu’s Juliette at the Grand Theatre de Geneve, Monterrone Rigoletto in Limoges, King Marke for the Prague State Opera and for North Carolina Opera, Elder Ott Susannah for ABAO in Bilbao and Pogner Die Meistersinger in concert for The Hallé Orchestra, conducted by Sir Mark Elder.

Richard has also sung Arkel Pelléas et Mélisande and Il Commendatore for the Canadian Opera Company, 1st Nazarene/2nd Soldier/5th Jew Salome at the Verbier Festival (cond. Gergiev) and 5th Jew Salome for the Salzburg Easter Festival, Bonze Madama Butterfly and Banquo Macbeth for Scottish Opera, Pfarrer/Dachs Das Schlaue Füchslein for the Wiener Kammeroper, Sarastro for Nevill Holt Opera, Daland Der Fliegende Holländer for the Dorset Opera Festival, the covers of Claggart Billy Budd, Superintendant Budd Albert Herring and Don Toribio Love and Other Demons for Glyndebourne Festival Opera, The High Commissioner Madam Butterfly and Sarastro The Magic Flute Longborough Festival Opera; Talbot Giovanna D’Arco, Snug A Midsummer Night’s Dream and Dr. Bartolo (cover) The Marriage of Figaro with English Touring Opera, and Rocco Leonore, King Louis Euryanthe, Polish Officer/Russian Commander in Glinka’s Life for a Tsar for Chelsea Opera Group,

Other roles have included: The Green Knight (Lynne Plowman’s Gwyneth and the Green Knight) in a Royal Opera House/Music Theatre Wales joint production at the Linbury and on tour, Second Mercenary Svanda Dudak and Crespel Les Contes d’Hoffmann (opera scenes) – Wexford Festival, Sarastro Die Zauberflöte – Opera by Definition, Grand Inquisitor Don Carlos – Stowe Opera, Death The Emperor of Atlantis (Ullmann) and Carpenter’s Mate HMS Pinafore with the Hallé Orchestra.

Richard has sung much of the standard bass concert and oratorio repertoire at engagements including Wexford Festival; Fairfield Halls, Croydon; Mananan Festival; Buxton Festival; Bridgewater Hall, Manchester; Liverpool Anglican Cathedral; Manchester Cathedral and Derby Assembly Rooms. He has performed Mussorgsky Songs and Dances of Death with the Grimethorpe Band and Dancing on the Volcano Festival and Peter and the Wolf at Manchester University. Premieres include Mervyn Burtch’s songcycle Light and Dark (Lower Machen Festival), Mervyn Burtch Ozymandias and Panos Demopoulos Three Songs for Bass. Richard’s recordings include Sullivan The Light of the World and the Second Mercenary in the Wexford Festival CD of Weinberger Svanda Dudak.

Richard’s projects for the 2016/17 season include Fasolt Das Rheingold for North Carolina Opera, The Bonze Madama Butterfly for Welsh National Opera and Il Commendatore Don Giovanni for Utah Opera.


Richard Wiegold brought impressive gravitas to Melchtal and Walter.

Hugo Shirley, The Spectator – 27 September 2014

WNO Guillaume Tell

“…the powerfully resonant bass voice of Richard Wiegold suited perfectly the implacability of the part of The Priest..”

Opera Now – July 2014

The Priest – Moses und Aaron – WNO

As Banquo, Welsh bass Richard Wiegold used his distinctive timbre to deliver an affecting rendition of the familiar aria. His sympathetic stage presence made his reappearance as the ghost even more threatening.

Karl Hesser – Opera News (April Issue)

Palm Beach Opera – Banquo in Macbeth

Bass Richard Wiegold from Wales sang Banquo, a co-equal general to Macbeth in King Duncan’s army. Wiegold was cleverly understated both as a witness to Macbeth’s ambition and later as the ghost that haunts him at a banquet. He has a lovely, rolling chocolate-rich vocal timbre that resonates well and a musicality that Verdi would have appreciated.

Palm Beach Arts Paper

Another company debut, Richard Wielgold was a terrific Banquo. While “velvety” is not a word one associates with basses, his voice was an exception. He also had great stage presence, even as a ghost during the second act.

Palm Beach Daily News

Palm Beach Debut

“Richard Wiegold, as the spirit-guide Vairochana, had some of the score’s loveliest music, delivered with a heart-melting simplicity.”

Birmingham Post – 20th June 2013

Vairochana – Wagner Dream – WNO

“Richard Wiegold brings grace and calmness to the role of Variochana, Wagner’s personal Buddha who guides him through his final moments”

Bachtrack – 7th June 2013

Vairochana – Wagner Dream – WNO

“Richard Wiegold sings with compassionate warmth as Vairochana, who becomes Wagner’s spiritual guide.”

John Allison – Daily Telegraph (8th June 2013)

Vairochana – Wagner Dream – WNO

Richard Wiegold’s Commendatore was appropriately magisterial and ominous (

Commendatore – Opera Colorado’s Don Giovanni – April 2013