Teddy Tahu Rhodes


New Zealand baritone Teddy Tahu Rhodes graduated from the Guildhall School of Music and Drama and studied with David Harper.

For Opera Australia he has sung Dandini, Count Almaviva, Demetrius, Escamillo, Guglielmo, Belcore, Harlekin, Don Giovanni, Billy Budd and Méphistophélès. He has also performed with the opera houses of San Francisco, Philadelphia, Austin, Washington, Houston, Dallas, Cincinnati, Santa Fe, Munich, Hamburg and Leipzig, and for Welsh National Opera, Scottish Opera, Chatelet Theatre Paris and Theater an der Wien. His many recordings include DVDs of 'Peter Grimes' (EMI) and 'Carmen' (Deutsche Grammophon) from the Metropolitan Opera.

Engagements during the 2016/17 season and beyond include his debut with the Aix-en-Provence Festival, Daland in 'Der fliegende Holländer' with the St Louis Symphony Orchestra under David Robertson, and the title role of Oedipe in London and Bucharest with conductor Vladimir Jurowski, as part of the George Enescu Festival.

This is for information only and should not be reproduced. Please contact Jonathan Turnbull for a full biography and for performance details.

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Carmen (Escamillo)

Antony and Cleopatra (Antony)

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

L’elisir d’amore (Belcore)

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

L’Upupa (Al Kasim)

Pagliacci (Silvio)

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

The Little Prince (The Pilot)

A Streetcar Named Desire (Stanley)

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

La Cenerentola (Dandini)
Bianca e Falliero (Capellio) 

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    Carmen (Escamillo)




West Australian Opera, 2015

On this occasion, the internationally acclaimed bass Teddy Tahu Rhodes (originally from New Zealand, often claimed as Australian, now domiciled in the US) took the role of Méphistophélès, for which he is eminently suited. His charismatic onstage presence dominated every scene he was in, and he obviously took delight in his saturnine wickedness. Vocally the role also suits him very well, his reliably accurate voice soaring effortlessly over the orchestra, with its burnished resonance gracing every phrase. Sandra Bowdler, Opera Britannia
Teddy Tehu Rhodes presented a suave sophisticated Méphistophélès – could the invitation to damnation and ruin ever seem so refined and respectable... Rhodes has the gift of a beautiful rich voice and an appealing naturalness in the way he commands the stage. Brian Angus, Bachtrack
Teddy Tahu Rhodes is wonderfully imposing as Méphistophélès but it is his way of giving the character great charisma, a seductive quality, which gives this devil his power over Faust. No crash, bang, fire and brimstone for Rhodes. He is the subtle voice in the ear, making an offer, waiting, offering a little more, until his victim accepts. Méphistophélès works through the power of his voice, and what a voice he is given. Teddy Tahu Rhodes is the perfect choice for the role. Barry Lenny, Operaworld
Teddy Tahu Rhodes was magnificent as Mephistopheles, his grand  stage presence matching his powerful voice. 
Diana Carroll, Adelaide Independent News



Sydney Opera House

As for the voices, this is luxury casting indeed: Mephistopheles is a gift of a role, and Teddy Tahu Rhodes grabs it whole-heartedly. Physically and vocally, it's a great match.Harriet Cunningham, The Sydney Morning Herald Harriet Cunningham, The Sydney Morning Herald
 Teddy Tahu Rhodes as Mephistopholes is visually magnetic with a stature and presence befitting of satan.  Eliza Eggler, Australian Stage


Don Giovanni

Sydney Opera House

TEDDY Tahu Rhodes stalks the stage of the Opera House’s Joan Sutherland Theatre as if he owns it and everyone on it...While Tahu Rhodes holds stage presence tightly in his grip, this ensemble cast is a world-class showcase worth seeing. Grant Jones, The Daily Telegraph
Teddy Tahu Rhodes (a seasoned veteran for this part) delivers the role with great professionalism. Zoltan Szabo, bachtrack


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

South Pacific

Sydney Opera House

...his [Teddy Tahu Rhodes] singing is highly polished and immaculately shaped... Peter McCallum, Sydney Morning Herald