Andrew Foster-Williams

It is remarkably well served by singers who speak as well as they sing… With his asides and banter, this Méphistophélès is close to that of Goethe, and Andrew Foster-Williams plays him with an infectious pleasure.
Télérama, Sophie Bourdais

Andrew Foster-Williams as Kurwenal sang as he acted, with nuance and imagination…
Musical America, Mark Valencia

Baritone Andrew Foster-Williams convincingly shapes his role as Golaud with the whole range of love, hate, jealousy and despair.  His voice allows him to convey all facets of this demanding role.
Das Opernmagazin, Marco Stücklin

Andrew Foster-Williams’ Telramund has in his voice the poisonous virulence of his words.
Le Monde, Marie-Aude Roux


Bass-baritone Andrew Foster-Williams enjoys a vibrant career on both the opera and concert stage and is graced with a vocal versatility allowing him to present a repertoire ranging from the classics of Bach, Beethoven, Handel, Mozart, and Weber to works of Romantic and Neoclassical masters such as Berlioz, Britten, R. Strauss, Stravinsky, and Wagner.

Andrew Foster-Williams’ career, initially built on his strong Baroque credentials, has in recent seasons found a new dramatic direction with successes as Pizarro (Fidelio) at Theater an der Wien and Philharmonie de Paris, as Escamillo in a new Kasper Holten production of Carmen at the Bregenzer Festspiele conducted by Paolo Carignani and Jordan de Souza, and unanimously praised performances of Telramund in Wagner’s Lohengrin at La Monnaie conducted by Alain Altinoglu in a new production by Olivier Py as well as under the baton of esteemed conductor Yannick Nézet-Séguin at the Lanaudière Festival.  His portrayal of Captain Balstrode in Christoph Loy’s divisive new production of Peter Grimes at Theater an der Wien alongside acclaimed performances as Kurwenal (Tristan und Isolde), Lysiart (Euryanthe), Nick Shadow (The Rake’s Progress), and Golaud (Pelléas et Mélisande) have further enhanced a highly distinguished operatic profile.

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Mr. Foster-Williams’ dramatic capacity has earned the respect of many of the most acclaimed stage directors as he “holds the attention of the audience with the energy of someone who has great experience, and with sensational vocal ability, which he uses with total freedom…” (Opéra).  He frequently is sought after by David Alden, Lotte de Beer, Kasper Holten, Barbora Horáková Joly, Barrie Kosky, Christof Loy, David Pountney, and Deborah Warner.

An impressive line-up of concert invitations has taken Andrew Foster-Williams to major stages with the most celebrated orchestras and conductors of our day including the Cleveland Orchestra with Franz Welser-Möst, Philadelphia Orchestra and Yannick Nézet-Séguin, Salzburg Mozarteum with Ivor Bolton, San Francisco Symphony and Michael Tilson Thomas, Concertgebouw Orkest with Richard Egarr, Hong Kong Philharmonic under Edo de Waart, and the London Symphony Orchestra with Sir Colin Davis.

Andrew Foster-Williams offers a concert repertoire as diverse as it is broad including Bach’s Matthäus-Passion and Johannes-Passion, Brahms’ Ein deutsches Requiem, Beethoven’s Ninth Symphony, Britten’s War Requiem, Haydn’s Die Jahreszeiten, Janáček’s Glagolitic Mass, Mahler’s Eighth Symphony, Mendelssohn’s Elijah, Schoenberg’s Gurre-Lieder, and Walton’s Belshazzar’s Feast.   He “opened the bass-baritone line not like a pompous oratorio singer but like a character in an opera – speaking to the audience, drawing us in, making the words mean something” (The Washington Post).  The professional esteem and critical success of Andrew Foster-Williams has garnered collaborations with David Afkham, Herbert Blomstedt, William Christie, Teodor Currentzis, Phillipe Herreweghe, Paul McCreesh, Cornelius Meister, Marc Minkowski, Hervé Niquet, Vasily Petrenko, David Robertson, Ulf Schirmer, Emmanuel Villaume, and Lorenzo Viotti among many others.

Highlights of the 2019-20 season include Lohengrin at the Tiroler Festspiele Erl, Iphigénie en Tauride with the Orchestra of the Age of Enlightenment conducted by Laurence Cummings, La damnation de Faust with Lan Shui and the National Taiwan Symphony Orchestra, Bach’s Weihnachts-Oratorium with the Oslo Philharmonic, and Handel’s Messiah with the Munich Philharmonic.  In North America, Andrew Foster-Williams returns to the New York Philharmonic for Mozart’s Mass in c minor led by Jaap van Zweden, joins Giancarlo Guerrero and the Nashville Symphony for Handel’s Messiah, and sings the title role of Mendelssohn’s Elijah with Jun Märkl leading the Indianapolis Symphony Orchestra.

Boasting an extensive discography, Andrew Foster-Williams’ commercial releases include Beethoven’s Cantata on the Death of Emperor Joseph II with the San Francisco Symphony (Tilson Thomas) released on SFSMedia, The Seasons with the London Symphony Orchestra (C.Davis) on LSO Live and with Gabrieli Consort & Players (McCreesh) on Signum, and HMS Pinafore with the Orchestra of Scottish Opera (Egarr) on Linn.  Performances captured for DVD include a Gramophone Award-winning The Fairy Queen with Glyndebourne Festival Opera (Christie) and Guillaume Tell (Fogliani).


Théâtre Royal de la Monnaie, Tristan und Isolde


Théâtre Royal de la Monnaie, Lohengrin


Southwell Music Festival, Elijah


The Church of the Holy Cross, Warsaw, Brahms Ein deutsches Requiem


General Management
Bill Palant, Étude Arts
Ansonia Station,Post Office Box 230132
New York, New York 10023
Tel: 929.777.0775

European Management
Harrison Parrott
Shirley Thomson, Director & Head of Vocal