Latest News: Alan Griffiths has just completed the first draft of an Opera for Lyric Bass Paul Whelan

Australian/New Zealand composer Alan Griffiths is embarking on an exciting new project: crafting an opera tailored for the remarkable lyric bass Paul Whelan. Known for his evocative compositions and collaborations with world-class musicians, Griffiths has just completed a new work that showcases Whelan’s vocal prowess and dramatic depth.

Griffiths, born in Malawi in 1967 and raised in Christchurch, New Zealand, has a rich history of composing across genres, from solo piano works to chamber music and film scores. His albums Introspection (2016), Rare View (2018), and Land No More? reflect a distinctive style influenced by composers like Fauré, Rachmaninoff, and modern film score giants such as Hans Zimmer. Griffiths’ ability to blend virtuosity with emotional resonance has earned praise from critics, with Fanfare Magazine noting his seamless shifts between expressive modes. His recent song cycle Such a Fine, Sunny Day, premiered by Whelan in 2022 at The Piano Centre for Music and Arts in Christchurch, was a triumph, lauded for its dramatic piano accompaniment and Whelan’s commanding performance. This collaboration laid the foundation for their latest venture.

Paul Whelan, a New Zealand-born lyric bass based in New York, brings an illustrious career to the project. With debuts at prestigious venues like the Metropolitan Opera, Royal Opera House, and Paris Opera, Whelan has captivated audiences worldwide. His recent roles include Gremin in Eugene Onegin at Lyric Opera of Kansas City and Daland in Der Fliegende Holländer with Hawaii Opera Theatre, showcasing his versatility across dramatic and lyrical repertoire. Critics have praised his rich, resonant voice and ability to embody complex characters, from Mozart’s Commendatore to Wagner’s Daland. Whelan’s prior work with Griffiths on Such a Fine, Sunny Day demonstrated their artistic synergy, making him the ideal muse for this new opera.

While details about the opera remain under wraps, Griffiths’ track record suggests it will be a compelling blend of narrative depth and musical innovation. His attendance at New Zealand Opera’s inaugural New Opera Forum in 2024 hints at his ambition to push creative boundaries in the genre. For Whelan, whose career spans both traditional and contemporary works—like the world premiere of Stuart MacRae’s Anthropocene—this opera promises to be a showcase of his vocal and interpretive gifts.

Fans of both artists can anticipate a work that marries Griffiths’ compositional finesse with Whelan’s commanding stage presence. As this project develops, it’s sure to be a highlight in the world of contemporary opera. Stay tuned for updates on this exciting collaboration!