The Diary of One who Disappeared, Sydney Chamber Opera
“Andrew Goodwin's portrayal of Janik's descent into madness is beautiful and terrifying to see and hear. Beautiful, because Goodwin's voice negotiates Janik's emotions without losing its focussed but never harsh tone, even at the extremes of the tenor range. And terrifying, because this level of control comes hand in hand with pent-up emotion etched across his face. This is a virtuoso performance.”
Harriet Cunningham, The Saturday Paper, October 2020
The Pearl Fishers, State Opera of South Australia
“ …Andrew Goodwin, as the pearl hunter Nadir, is exquisitely soft and mellow, and to hear their highly contrasting voices side by side adds a frisson that helps propel many of the scenes”
Graham Strahle, The Australian, May 14 2018
“ …Andrew Goodwin shone when he dreamed and reunited with Leila”
Greg Elliott, InDaily.com, May 14 2018
“…Powerful, too was Andrew Goodwin’s Nadir…a delightfully elegant, light French-style tenor. Endearing in his solos and amazing in his duets, especially the core “Au fond du temple saint” with Doyle…the passionate highlight of the night…It was a transfixing moment in the opera:”
Brian Angus, Bachtrack May 2018
The Dream of Gerontius, Sydney Philharmonia Choirs
“…A richly sustaining element of the Sydney Philharmonia’s performance of Elgar’s The Dream of Gerontius”, was tenor Andrew Goodwin’s polished smoothness as Gerontius, with excellent diction and comely youthful bloom…”
Peter McCallum, Sydney Morning Herald, October 21, 2017
Evangelist, St John Passion, Melbourne Bach Choir
“…This tenor has a flawless delivery, projecting each note across his compass with an exemplary balance .....Singing of this elating assurance is experienced rarely these days, and Goodwin struck a fine balance between empathy and simple story-telling...”
O'Connellthemusic.com, April 2017
Coriole Music Festival 2016 (with Daniel de Borah)
“…Their set of Rachmaninov songs rippled with emotion, and in Britten’s The Poet’s Echo they seemed to unlock every tiny inner flex and sensitivity of this composer’s hauntingly beautiful setting of the Pushkin text. …Goodwin has a very special ability of letting the words just hang in the air”.
Graham Strahle, The Australian, May 2016
Auckland Philharmonia Orchestra, The Rake’s Progress
“Andrew Goodwin, as Tom, displayed the sort of clean-chiselled voice that could have been custom-built for the role. Not only was he deft in the many ingenious ensembles, but poignantly lyrical in arias like "Vary the song, O London".
William Dart, NZ Herald, August 2013
Canberra International Music Festival, Valentin Silvestrov’s Silent Songs
“Goodwin’s performance was magnificent. His flawless control belied the extraordinary difficulty of the task. He was able to evoke beautiful sensitivity for the music and the words and the moods created by the two. His crystal-clear tone effortlessly reached the heights and depths called for in the piece.”
Citynews.com.au, May 2012
Opera Australia, The Magic Flute
“The principal pair, Andrew Goodwin (Tamino) and Emma Matthews (Pamina), are noble and true in voice and deed, both displaying gracious attractiveness of sound”
Peter McCallum, Sydney Morning Herald, February 2009
Tenor Andrew Goodwin has appeared with opera companies in Europe, the UK, Asia and Australia, including the Bolshoi Opera, Gran Theatre Liceu Barcelona, Teatro Real Madrid, La Scala Milan, Opera Australia, Pinchgut Opera and Sydney Chamber Opera.
On the concert platform he has toured with the St Petersburg Philharmonic Orchestra with Maestro Temirkanov, performed with the Sydney, Melbourne, West Australian, Queensland and Adelaide Symphony Orchestras, Moscow Chamber Orchestra, and has given recitals with pianist Daniel de Borah at the Wigmore Hall, and at the Oxford Lieder, Port Fairy, Huntington, Coriole, Bendigo, Huntington and Canberra International Music Festivals.
Beethoven’s Symphony No. 9 features prominently in Andrew Goodwin’s diary this year with performances in Germany with the Brandenburg Symphony Orchestra and the Queensland Symphony Orchestra. He also returns to the Melbourne Bach Choir (Evangelist, St John Passion, and Messiah), The Canberra International and Sanguine Estate Music Festivals and to Sydney Philharmonia Choirs for Bach’s Christmas Oratorio. He will perform Britten’s War Requiem as part of Brisbane Festival, Messiah with Melbourne Symphony and both Britten’s Serenade for Tenor and Horn and Mime (Das Rheingold), in a role debut, with the Sydney Symphony.
Andrew’s busy 2022 schedule saw him tour and record with the Australian Vocal Ensemble, of which he is a founding member, return to both Sydney Philharmonia Choirs and the Queensland Symphony for Mozart Requiem, to the Melbourne Bach Choir as the Evangelist in the St. Matthew Passion, to the Canberra International Music Festival (and the Australian Haydn Ensemble) for Haydn’s Creation, to the Canberra and Melbourne Symphony Orchestras for Messiah ( the latter to perform Sir Andrew Davis’ version conducted by Sir Andrew himself), and to the Sanguine Estate and Albury Chamber Music Festivals. Andrew also continued his association with Hayllar Music Tours, appearing in 3 of their chamber music tours, both in Australia and in New Zealand.
Other recent engagements include Janik in the Sydney Chamber Opera production for Sydney Festival of Diary of one who disappeared (Janacek),his role debut as Lysander in Britten’s A Midsummer Night’s Dream for Adelaide Festival, Jacquino (Fidelio) with West Australian Symphony, Nadir (The Pearlfishers) for State Opera South Australia, St. John Passion and Haydn’s Creation with Melbourne Bach Choir, Carmina Burana with Sydney Philharmonia Choirs and Adelaide Symphony Orchestra, Mozart’s Requiem with Melbourne Symphony, Messiah with the Queensland and New Zealand Symphony Orchestras, as well as the premiere of Richard Mill’s new oratorio, Nativity, with the Adelaide Symphony.
Andrew’s recordings include Schubert’s Die schőne Müllerin and Winterreise and When yesterday we met (songs of Rachmaninov and Tchaikovsky with Daniel de Borah for ABC Classics, and Artaxerxes (Hasse) Giasone (Cavalli), Lámant jaloux (Gretry) and L’anima del filosofo (Haydn) with Pinchgut Opera.
Born in Sydney, Andrew studied voice at the St. Petersburg Conservatory under the direction of Professor Lev Morozov, graduating with a Bachelor of Music. He has also studied with Robert Dean in the UK. During his studies Andrew won a number of awards and scholarships: The Tait Memorial Trust Scholarship, 2nd place in the Yelena Obraztsova Singing Competition in St. Petersburg; the Martin Bequest Travelling Scholarship; the Sir Robert Askin Operatic Travelling Scholarship; and the Australian Opera Auditions Committee Joan Sutherland Richard Bonynge Scholarship. He has also received support from the Australian Music Foundation and ARS Musica Australis.
Andrew Goodwin is managed by Graham Pushee: graham@artsmanagement.com.au
February 2023
This biography is for general information purposes only and not for publication.
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