Bellini: Norma   Bock: Fiddler on the Roof

Derek Anthony's OROVESO had a deep bass voice that could be both menacing and patriarchal

South China Morning Post, Hong Kong, 1993

The production could hardly have been the success it was, without someone with Derek Anthony's experience and powerful stage presence in the leading role of TEVYE. He caught every nuance of the part, combining humanity with a stirring and frequently beautiful vocal line.

South China Morning Post, Hong Kong, 1993

Bruch: Die Loreley Donizetti: Don Pasquale

Derek Anthony [as VATER HUBERT] - a very good male voice.

Das Opernglas, Germany, 1984

Derek Anthony as the wealthy, old DON PASQUALE as enough wit (and a stunning baritone) to make his feeble attempts [to marry Norina] worthy.

South China Morning Post, Hong Kong, 1996

Donizetti: Lucia di Lammermoor Lothar: Tyll Eulenspiegel

Derek Anthony gave honest dramatic impetus to RAIMONDO.

South China Morning Post, Hong Kong, 1995

Derek Anthony [LAMME] as a kind of Sancho Panza was excellent. Derek Anthony was the dramatically strongest performer in the ensemble.

Nord-Rhein Westphälischer Zeitung, Germany, 1984


However the best performer in the ensemble was Derek Anthony as Tyll's friend LAMME. Always subserviently, yet very cleverly, was he able to perform his own rougish pranks. At times, he completely outshone the other leading performers.

Lüdenscheider Zeitung, Germany, 1984


With Derek Anthony, one of the leading roles [LAMME] was respectably cast.

WAZ-Zeitung, Germany, 1983


A singer-actor realizing the intentions of the stage director with obvious pleasure.
NRZ-Zeitung, Germany, 1983

Lehar: Die lustige Witwe [The Merry Widow]


[Role of Baron Zeta]. Derek Anthony, who best understood operetta, was energetic, funny and vocally powerful.

South China Morning Post, 1998

Mozart: Don Giovanni

Mozart: Don Giovanni

Derek Anthony as IL COMMENDATORE brought sonority to the role.

Opernwelt, Germany, 1983

Verdienten Applaus erhielt Derek Anthony fuer seine sympatische Verkoepferung des Don Giovanni-Dieners Leporello.

Translation from German: Derek Anthony received well-deserved applause for his pleasing interpretation of Don Giovanni's servant LEPORELLO.

Der Patriot, Germany, 1983

Ein Fest des Gesangs. Einem vernguegt-gutmuetigen Leporello – mit Derek Anthony’s beweglichem Bariton trefflich besetzt.

Translation from German: A vocal feast. An amusing and good-natured LEPORELLO - the casting was perfect with Derek Anthony's flexible baritone voice

Lippstaedter Anzeiger, 1983


Mozart: Die Entführung aus dem Serail

Mozart: Le nozze di Figaro

Derek Anthony was a powerful OSMIN.

Opernwelt, Germany, 1983

Derek Anthony [BARTOLO], brought subtle nuance to his role.

The Baltimore Sun, Baltimore, 1991

Mozart: Die Zauberflöte [The Magic Flute]

Ravel: L’heure espagnole [The Spanish Hour]

Derek Anthony as SARASTRO was paternally stentorian.

South China Morning Post, Hong Kong, 1997

This is all part of the Vietnam-Norway “Transpositon” program, and a number of key roles were played by foreign guests. The mysterious Sarastro, created on Masonic (and hence ancient Zoroastrian) lines, was finely sung by the bass Derek Anthony.

The Saigon Times, Ho Chi Minh City, Vietnam, 2013


"…..và giọng nam trầm Derek Anthony (Na Uy) thì việc tập luyện những đoạn đối thoại dài bằng tiếng Việt thực sự là một thách thức lớn."

The Norwegian bass Derek Anthony successfully rose to the challenge of learning and performing the dialogue [of Sarastro] in Vietnamese.

Người Lao Động Magazine, Ho Chi Minh City, Vietnam, 2014

Derek Anthony as the clumsy banker [DON INIGO GOMEZ] fitted in with the general high level of the production.

NRZ-Zeitung, Germany, 1984

Rossini: Cenerentola [Cinderella]

Verdi: Rigoletto

Impressive comic talents were shown by Derek Anthony as DON MAGNIFICO, the mean and stupid stepfather. Anthony has the most spectacular material and plays it well.

The Washington Post, Washington D.C., 1992

The meetings with the killer SPARAFUCILE (a terryfying performance by Derek Anthony) were as evil as the last-act tavern scene.

South China Morning Post, Hong Kong, 1993



Bach: B-minor Haydn: The Creation
Derek Anthony - a fine musician with a well-trained voice.

Santa Barbara News Press, California, 1988
The bass soloist, Derek Anthony, gave a secure, reliable and accurate reading of the roles of RAPHAEL and ADAM.

South China Morning Post, Hong Kong, 1995

Verdi: Requiem


Bass Derek Anthony sang with polish and insight.

The Evening Sun, Baltimore, 1991


His beautiful singing of a challenging and rewarding score in last Friday night’s performance of the Verdi Requiem. An excellent performance as bass soloist that contributed much to the success of the concert, and to the pleasure of those in attendance.”

Robert O. Pierce, Director
The Peabody Institute of The Johns Hopkins University, 1991




Dr. Derek Anthony, who is a first class opera singer gave the audience a fantastic performance in Chinese, Italian and Norwegian arias and classical songs.

Oslo, 2013
Bergen, 2013

Russian Songs steal Concert Artist’ show. Derek Anthony, bass, sang Mussorgsky’s “The Song of the Flea” and “The Field-Marshall” with flair and power. His richly resonant voice was well-matched to their darkly colored accompaniment. These songs are a marvel of compactness and directness. Anthony sang them both with the intensity they deserved.

The Evening Sun, Baltimore, 1991

The great surprise of the evening, however, was undoubtedly the baritone Derek Anthony. His wonderful vocal range, the quality of his delivery, his elegant acting and accent-free presentation was heartily rewarded with much applause.

Washington Journal, Washington, DC, 1991

Derek Anthony displays versatility. It was a beautiful concert. A group of German Lieder, of which “Verrat” was particularly notable. Anthony really opened up in this tragic description of infidelity and sang with intensity and passion….. A very amusing German drinking song – Anthony sang with obvious pleasure, which conveyed itself to the audience…..He captured the peculiar blend of idealism and cynicism that characterized the French/Spanish works, as well as the relentless sorrow of the Russian pieces. [Jacques Ibert: “Quatre Chansons de Don Quichotte” and Modest Mussorgsky: “Songs and dances of Death”]. Anthony’s diction was excellent throughout, his intonation was good, and he sang with taste and intelligence.

Carmel Pine Cone, 1989


Prize-winner returns to Carmel. The basso quickly proved that his win was no fluke; his vocal quality alone would have made the evening worthwhile. The enjoyment of the concert came from the singer’s rich, slightly edged voice and even range. He sang with an understanding that lighted up the music. His lyric, caressing lines were entirely compatible with the music, and his colorations were memorable. [Jacques Ibert: “Quatre Chansons de Don Quichotte”]. The same could be said for Mussorgsky’s stark and chilling set of vocal vignettes deliverd with animation and expansive vocal effects. [Modest Mussorgsky: “Songs and dances of Death”]. As an encore, Anthony offered Leporello’s “Catalog Aria” from “Don Giovanni”, glinting with light, comic touches.

The Herald, Carmel, California, 1989

A poised and versatile Derek Anthony guided his rich bass-baritone voice through a scintillating series of art songs and arias. Anthony sang with vigor, ease and clear diction in a one hour program in German, French,. Russian, and English. But it was the sure tone of his pleasing voice high or low, loud or soft that hit just the right spots in the recital.

Derek Anthony, born in South Africa and a long-time resident of Norway, studied voice with the great singer Otto Edelmann in Vienna. His background was apparent in his excellent handling of languages and his smooth, yet articulate presentation. The agility of his “Air de Caron” by Lully served well to demonstrate the fluidity of a firm, clear bass voice

Monterey Peninsula Herald, 1988