Management: Australasia and Non-Exclusive Asia
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
The Diary of One Who Disappeared, Coriole Music Festival
“…Tenor Andrew Goodwin gave this with the most intimate emotion..”.
Graham Strahle, The Australian, May 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
Paul Dean’s Generations with Australia Piano Quartet
“…It was sung with virtuosity and compassion by Andrew Goodwin whose agile, fresh, appealing and deeply musical tenor voice was apt for the work. Goodwin’s artistry fully satisfied the cycle’s wide range of emotions from fury and bluster through to movingly tender introspection.”
David Barmby, Arts Hub , June 2016
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
Melbourne Bach Choir, St Matthew Passion
“…the afternoon's honours went to Andrew Goodwin's Evangelist: one of those performances that lives in the memory for days, the delivery clarion-clear with unshakeable reliability, even in the line's stretching high tessitura, and an emotional responsiveness leading to several pin-drop moments.”
Clive O’Connell, The Age, March 2016
Melbourne Bach Choir, St Matthew Passion
“Andrew Goodwin's faultless Evangelist for the Melbourne Bach Choirs' St Matthew Passion on Good Friday”
Clive O’Connell, The Age, December 2016
Auckland Philharmonia Orchestra, The Rake’s Progress
"Andrew Goodwin, as Tom, displayed the swort of clean-chiselled voice that could have been custombuilt for the role. Not only was he defgt 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 orchestras and opera companies in Europe, the UK, Asia and Australia, including the Bolshoi Opera, Gran Theatre Liceu Barcelona, Teatro Real Madrid, La Scala Milan and Opera Australia.
On the concert platform he has toured with the St Petersburg Philharmonic Orchestra with Maestro Temirkanov, performed with the Sydney, Melbourne and Adelaide Symphony Orchestras, Moscow Chamber Orchestra, Sydney Philharmonia Choirs and given recitals with pianist Daniel de Borah at the Wigmore Hall, and at the Oxford Lieder, Port Fairy, Huntington, Coriole and Canberra International Music Festivals.
Last year Andrew appeared with Sydney Chamber Opera (Passion), The Song Company (Bach and forward), Melbourne Bach Choir (Evangelist, St Matthew Passion), 4 Winds Festival (Britten’s Serenade for tenor, horn and strings), Sydney Symphony Orchestra (Mozart Litaniae de venerabili altaris sacramento), Coriole Festival, Monash Academy (Haydn Mass in Time of War), Sydney Philharmonia Choirs (Israel in Egypt), Auckland Philharmonia Orchestra (Bach Magnificat), Brisbane Festival (Lyle Chan‘s My Dear Benjamin with the Queensland Symphony Orchestra), and Handel in the Theatre (Jephtha, The Vow), as well as in recitals with Daniel de Borah and the Australia Piano Quartet. His 2017 engagements include performances with the Melbourne Symphony Orchestra (Mozart Requiem), Sydney Philharmonia Choirs (Dream of Gerontius and Messiah), Coriole Festival and Adam Chamber Music Festival, Melbourne Bach Choir (St John Passion), Melbourne Chamber Orchestra, Sydney Chamber Opera (Biographica and The Rape of Lucretia ) Sydney University Graduate Choir (Saint Saëns Requiem) and the Auckland Philharmonia Orchestra (Handel Ode for St. Cecilia’s Day).
Other recent engagements have included Britten’s Serenade for Tenor, Horn and strings (Adelaide and Melbourne Symphony Orchestras), Egeo in Cavalli’s Giasone and Florival in L’amant jaloux (Grétry) for Pinchgut Opera, recitals with Daniel de Borah at the Melbourne Recital Centre; the Evangelist in St Matthew Passion with the Melbourne Bach Choir; a recital with pianist Mira Yevtich at the Concert Hall of the Mariinsky Theatre, St. Petersburg; Degtyarev's Russian oratorio Minin i Pojarsky with the Moscow Chamber Orchestra; Elgar’s The Dream of Gerontius at St John’s Smith Square, London; his debut in the title role in The Rake’s Progress for Auckland Philharmonia Orchestra; the roles of Lensky (Eugene Onegin) and Tamino (The Magic Flute) with the Bolshoi Opera; Messiah for Sydney Philharmonia; Bach’s B Minor Mass with The Song Company, as well as featuring at Musica Viva’s Huntington Festival, and the Australian Festival of Chamber Music, Townsville.
Notable opera performances include Andrew’s debut for Opera Australia as Fenton in Falstaff and the role of Avvakum in the world premiere of Rodion Shchedrin’s Boyarina Morozova at the Moscow State Conservatory; Belmonte in (Die Entführung aus dem Serail), Don Ottavio (Don Giovanni), Novice (Billy Budd), Janek (The Makropoulos Affair) and Tamino (Die Zauberflöte) for Opera Australia; return appearances at the Bolshoi for Alfred (Die Fledermaus) and to tour the Bolshoi production of Eugene Onegin performing Lensky at The Ljubljana Music Festival, Slovenia, La Scala, Milan and Teatro Real, Madrid and The National Centre for the Performing Arts, Beijing. Andrew also made his debut at the Liceu, Barcelona as Silvio in Martin Y Soler’s L’Arbore di Diana, and his UK debut singing the role of Gomatz in Mozart’s Zaide with The Classical Opera Company. He has also appeared as Orpheus in Haydn’s L’anima del filosofo for Pinchgut Opera.
As well as performing regularly with duo partner Daniel de Borah, they have also recorded Schubert's Die Schöne Müllerin and Winterreise for ABC Classic FM.
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 also received support from the Australian Music Foundation and ARS Musica Australis.
Andrew Goodwin is managed by Graham Pushee: firstname.lastname@example.org
This biography is for general information purposes only and not for publication.
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