Management: Australasia and Non-Exclusive Asia
L'Enfance du christ, Melbourne Symphony Orchestra
"...Andrew goodwin impresses...as the Centurion...His sweet, clear tone is an unalloyed pleasure. Here's hoping at some not-too-distant date in the future some savvy concert presenter will offer him the role of the narrator in this work.
Tony Way, Limelight Magazine, June 16 2018
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
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, Queensland and Adelaide Symphony Orchestras, Moscow Chamber Orchestra, Sydney Philharmonia Choirs and has 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.
This year Andrew’s engagements will include return invitations to Melbourne Symphony Orchestra (Mozart Requiem), Melbourne Bach Choir (Evangelist, St Matthew Passion), Canberra International Music Festival (Evangelist, St. John Passion), and Sydney Philharmonia Choirs (Dvorak Requiem). Andrew will be the featured vocal soloist at this year’s Huntington Festival, the final year this festival will be held. He will also continue his song recital partnership with Daniel de Borah.
His 2017 Andrew appeared 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).
Last year Andrew made his role and house debut as Nadir in The Pearlfishers for State Opera of South Australia. He also returned to Pinchgut Opera in the title role of Artaxerses. Concert performances included a return to Melbourne Symphony Orchestra for Berlioz L’enfance du Christ and Messiah, to Sydney Symphony Orchestra (Brett Dean’s oratorio The Last Days of Socrates), Queensland Symphony (Messiah) Sydney University Graduate Choir for An Australian War Requiem (Bowen), Sydney Philharmonia for Bach B Minor Mass, Melbourne Bach Choir (Mozart Requiem and Bach Cantata), Monash Academy Orchestra (Rossini Stabat Mater),and to Melbourne Intervarsity Choral Festival (Elgar’s The Light of Light). Andrew also again appeared in numerous recitals with Daniel de Borah.
Previous appearances include Sydney Chamber Opera (Passion), The Song Company (Bach’s B Minor Mass and 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), Monash Academy (Haydn Mass in Time of War), Sydney Philharmonia Choirs (Israel in Egypt and Messiah), Auckland Philharmonia Orchestra (his debut in the title role in The Rake’s Progress and Bach Magnificat), Brisbane Festival (Lyle Chan‘s My Dear Benjamin with the Queensland Symphony Orchestra), and Handel in the Theatre (Jephtha, The Vow) recitals with Daniel de Borah and the Australia Piano Quartet, as well as featuring at Musica Viva’s Huntington Festival, and the Australian Festival of Chamber Music, Townsville.
Other engagements include Britten’s Serenade for Tenor, Horn and strings (Adelaide and Melbourne Symphony Orchestras), 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; the roles of Lensky (Eugene Onegin) and Tamino (The Magic Flute) with the Bolshoi Opera and Egeo in Cavalli’s Giasone and Florival in L’amant jaloux (Grétry) and Orpheus in Haydn’s L’anima del filosofo for Pinchgut Opera.
Other 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 the tour of 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.
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: email@example.com
This biography is for general information purposes only and not for publication.
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