Teddy Tahu Rhodes

Introduction

New Zealand baritone Teddy Tahu Rhodes joined Opera Australia as a resident principal artist in 2001, performing the roles of Guglielmo (Cosi fan tutte), Belcore (L'elisir d'amore), Demetrius (A Midsummer Night's Dream) and Harlekin (Ariadne auf Naxos). He has sung in the houses of San Francisco, Houston, Dallas, Washington and Munich, and with the Chatelet Paris, Welsh National Opera and Scottish Opera.  He sang Count Almaviva in Cincinnati and Washington, Don Giovanni for Opera Australia, Henze’s L’Upupa for Hamburg Opera, Lescaut in Leipzig, Billy Budd in both Santa Fe and Sydney, Peter Grimes and Escamillo for the Metropolitan Opera, New York, Scarpia for West Australian Opera, and Stanley (A Streetcar Named Desire) for both the Theater an der Wien and the Lyric Opera of Chicago 

Following the huge success he had with South Pacific, Teddy will sing the role of the King in The King and I for Opera Australia, where he also returns to sing his first Faust  and the title role in a new production of Don Giovanni.

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Repertoire

BIZET
Carmen (Escamillo)

BARBER
Antony and Cleopatra (Antony)

BRITTEN 
A Midsummer Night’s Dream (Demetrius)
Peter Grimes (Ned Keene)
Billy Budd (Billy Budd)

DONIZETTI   
L’elisir d’amore (Belcore)

HEGGIE   
Dead Man Walking (Joe)
The End of the Affair (Bendrix)

HENZE   
L’Upupa (Al Kasim)

LEONCAVALLO  
Pagliacci (Silvio)

MOZART   
Così fan tutte (Guglielmo)
Don Giovanni (Don Giovanni)
Le nozze di Figaro (Figaro/ Count)
Die Zauberflöte (Papageno)

PORTMAN   
The Little Prince (The Pilot)

PREVIN   
A Streetcar Named Desire (Stanley)

PUCCINI   
La boheme (Marcello)
Madame Butterfly (Sharpless)
Manon Lescaut (Lescaut)
Tosca (Scarpia)

ROSSINI   
La Cenerentola (Dandini)
Bianca e Falliero (Capellio) 

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Press

Previn

A Streetcar Named Desire

Carnegie Hall and the Lyric Opera of Chicago

As Stanley, Teddy Tahu Rhodes gave an extroverted, full-voiced characterization, balancing the visceral qualities with the street-smart awareness that allowed him to assess the consequences of Blanche’s actions. In the first act’s second scene, after the drunken Stanley strikes Stella in front of his friends and she flees, he utters his famous cry—a line that Previn wisely has left spoken, not sung. Rhodes delivers it with the power of a fine orator while keeping its rhythm and dynamic level within the scene’s musical structure. James L. Zychowicz, Seen and Heard
His strong baritone was matched by six-pack abs, a tattooed left arm and a feral way of stalking the stage. 
Chicago Tribune
Teddy Tahu Rhodes was a menacing Stanley Kowalski, his bald head and tattoo on his left arm in stark contrast to Fleming in Johann Stegmeir's glamorous dresses. Bare-chested or in a tank top for much of the evening, Rhodes walked with a hulking bluntness, and his baritone seethed with contempt. Ronald Blum, Huffington Post