Mr. Walter Wheatley

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PRESS SHEET
Containing a few Recent Critiques of
Mr. WALTER WHEATLEY
LEADING TENOR—

Covent Garden Opera, London
Royal Carl Rosa Opera, London
Principal London Concerts
Leading European Opera Houses AND Century Opera House, New York

For Terms address:


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PRESS OPINIONS

Standard, London
Mr. Wheatley took the part of Turridu in hand with the spirit and deliberation of a tried Artist, and sang the music with a verve and lustiness that this hot-headed southerner's utterances demand.


Daily Telegraph, London
Mr. Walter Wheatley firmly established himself in favour by his fervent delivery of Manrico's phrases.  He sang Di quella pira in genuinely stirring fashion.


Globe, London
Mr. Walter Wheatley's powers have developed greatly since he was last heard at Covent Garden, and his Duke was a very finished performance.


Belfast News
Faust is a hard part to sing, and a harder part to act, but Mr. Wheatley did full justice to it, and in the luscious music of the Garden Scene his voice was tremendously effective.  'All hail thou dwelling' was splendidly given and loudly encored, and he surpassed himself in the pathos of the concluding scene.


Edinburgh News
There was nobility in the manly passionate Assad of Mr. Walter Wheatley, who, as singer and actor, is an ideal dramatic tenor.


Scotsman
Mr. Walter Wheatley as Don Jose showed that he could portray a great passion having always behind it a sinister suggestion of fatality.  He was in splendid voice and fully equal to the great demands made upon him.


Belfast, News-Letter
Last night's performance of Lohengrin was notable for the beautiful singing of Mr. Walter Wheatley in the title role.  From the moment of his dramatic entry in the first act his was a dominant personality till the final curtain… &c.


The Sound Wave and Talking Machine Record COLUMBIA-RENA GRAMOPHONE RECORDS
Mr. Wheatley sings with the splendour of voice and method which recalls Caruso, especially in the upper register.


Il Teatro, Milan
His most beautiful voice, warm, resonant, extensive, robust, produced throughout the opera an excellent impression, especially the Spring Song, which he delivered with a fulness of voice exceptional also with warm feeling and force, the scene of the sword.
In a word, his was an important success, spontaneous and amounting to a great victory, because obtained in the most Wagnerian city of Italy.



Glasgow News
Mr. Wheatley received a tremendous ovation after 'Vision Entrancing.'


Bristol Times
It can be said of him that he is by far the most tuneful tenor who has filled the part in Bristol.  That in itself would be inadequate praise, because, welcome as it is to find a Tannhauser who could so control his voice, that it never lost its tunefulness, even at the most trying moments, Mr. Wheatley never became a mere singer, for the greater the demands that were made upon his histrionic ability the greater was the response made.


Manchester Courier
The Assad of Mr. Walter Wheatley was an admirable piece of work with his clear enunciation, and the beautiful quality of his tone.  Rarely have we seen more adroit acting in Opera than his … &c.


Il Giornale, Bologna
An ideal Sigmund was the tenor Wheatley, who impressed by beauty of voice, correctness of interpretation, and received ovations after the Spring Song and Sword Scene.


Lo Staffile, Florence
An excellent Sigmund was judged by the public—Sig. Walter Wheatley This young artist in his first battles in Italy having already achieved success in other countries, has a voice of rare beauty and knows how to sing.  Of the tenor Wheatley all write favourably and predict for him a speedy arrival at the top of our operatic world.


Henry Melzer in New York American
* * * The 'Che gelida Manina' was sung extremely well.  It has not been so well phrased in many moons at the Metropolitan Opera House.


Baltimore American
Mr. Wheatley is an artist who has reached the full maturity of his talents; who seems to have analyzed maturity of his talents; who seems to have analyzed carefully his own resources and then proceeded to polish and refine them with an eye single to perfection.  Consequently there is a finish, a fine sense of proportion in all that he does.  His voice is marvelously sweet and colored exquisitely.  Repeated applause was given him not only in the big numbers of the melodious old opera, but in arias of minor consequence as well.


New York Journal
* * * Especially effective was the 'Salve Dimora' and 'Dammi Ancor' in the garden scene, which he sang with a finish and warmth which many more celebrated tenors at the Metropolitan have for some years failed to give.


Brooklyn Life
Walter Wheatley's voice is a revelation, and far above what most of us expected to find at the Century.  There is remarkable power in it, while the quality is delightful.  Even the celebrated B flat of the 'Celeste Aida' did not daunt him, but he took it easily and effectively, while the audience gasped in astonishment.  Some of us have gotten so used to the high degree of excellence at the Metropolitan that unconsciously we have lost all the proportion, and have dwarfed the ability of all voices outside our chosen temple.  Another excellent feature of Mr. Wheatley's singing is that the audience knows what he is singing, his enunciation being very distinct.


Brooklyn Eagle
In the production of Aida, in English, last evening a new tenor was heard.  He is an American and he doubtless does not care for an Italian stage name in order to gain public favor or publicity.  He is Walter Wheatley and in the role of Radames he displayed a voice quite unusual in that it has, besides beautiful lyric quality, a mellowness which was especially effective in mezzo voce delivery.


The Chicago Evening Post
The listener left with the impression that the cast could not have been improved. * * *  Walter Wheatley gave a finished performance of Rudolfo, singing the Narrative with a fine quality of voice and a repression that few tenors have the good taste to use in this intimate scene.


The Chicago Daily News
Walter Wheatley, the English tenor who was widely heralded in this country last year as one of the most important acquisitions of the Century Opera company in New York, was the only one in the cast who had not appeared in The Tales of Hoffman the previous evening, and he proved to be the most interesting of all the singers.  His voice is not only powerful and always certain, but it is capable of expressing the deepest significance without losing any of its lyric charm.  His Don Jose is worthy to rank among the best renditions of that part that have been heard in the Auditorium in recent years.


Chicago Evening Post
The event of the evening was the debut of Walter Wheatley with this company, and he is a decided acquisition.  The Flower Song was beautifully done.


Chicago Daily News
Mr. Wheatley was in perfect voice.  In his singing he has a way of adding overtones to the meanings of words.  All the tenderness in the world was in his speech with Mimi in the first act, but it was a youthful tenderness.  In the last act it was understanding, but the change is not in the written music.