Bryn Terfel on bringing drama to the opera stage and the importance of listening

One warm February evening in Shenzhen, Bryn Terfel stands centre stage and launches into “Son lo Spirito Che Nega” from Arrigo Boito’s 1868 opera Mefistofele, his voice filling the hall with theatrical force. Then, just as quickly, he undercuts the drama. “My three border collies go crazy when I sing this in Wales,” he tells the audience at Shenzhen Longgang International Art Centre, laughing.

With a career spanning more than three decades at the world’s leading houses – from the Royal Opera House in London to New York’s Metropolitan Opera – the Welsh bass-baritone is one of opera’s most commanding contemporary voices. After training at London’s Guildhall School of Music & Drama, Terfel first gained international attention in 1989 at the BBC Cardiff Singer of the World competition.

More than three decades later, he arrived in Shenzhen to headline the international classical music event Verbier Festival’s inaugural China edition, which took place from January 30 to February 8.

Here, the legendary bass-baritone speaks to us about training across styles, working with the Rolex Perpetual Arts Initiative to launch a youth singing competition in Wales, and taking on the role of the bad boy.

You’ve performed everything from Mozart to Wagner to Verdi. How do you approach such a varied repertoire?

I always consider myself [to be] like a golfer. They have a swing coach. They have a putting coach. They have a pitching coach. They have everything.