Andrew Foster-Williams

Alors qu’on avait pu le juger parfois un peu excessif dans ses incarnations de méchants, Andrew Foster-Williams est en Méphistophélès comme un poisson dans l’eau : son don comique naturel sert à la perfection le personnage, et sa voix de baryton-basse nous rafraîchit agréablement après tant de monstrueux diables slaves. Quant à la pointe d’accent anglais qui perce surtout dans les dialogues parlés, elle rappelle ce merveilleux diable que fut Peter Ustinov dans L’Histoire du soldat.
ForumOpera.com, Laurent Bury

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

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Bass-baritone Andrew Foster-Williams enjoys a vibrant career on both the opera and concert stage and is graced with a vocal versatility that allows him to present a repertoire ranging from the classics of Bach, Gluck, Handel, and Mozart through to more recent masters such as Britten, Debussy, 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 and a unanimously praised debut as Telramund in Wagner’s Lohengrin under esteemed conductor Yannick Nézet-Séguin at the Lanaudière Festival.  A subsequent portrayal of Captain Balstrode in Christoph Loy’s divisive new production of Peter Grimes at Theater an der Wien alongside acclaimed performances as Nick Shadow (The Rake’s Progress), Gunther (Götterdämmerung), and Golaud (Pelléas et Mélisande) have further enhanced a highly regarded operatic profile.

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, Barrie Kosky, Christof Loy, David Pountney, and Deborah Warner.

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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 and 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.   Andrew Foster-Williams “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 he has garnered have yielded 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, and Emmanuel Villaume among many others.

Highlights of the 2017-18 season include Telramund in Lohengrin at La Monnaie in a new production by Olivier Py conducted by Alain Altinoglu, Golaud in Pelléas et Mélisande directed by René Koering under the baton of Yves Abel for Ópera de Oviedo, Méphistophélès in Gounod’s Faust at the Théâtre des Champs Elysées in Paris conducted by Christophe Rousset, Escamillo in Carmen in a Kasper Holten production conducted by Paolo Carignani and Jordan de Souza at the Bregenzer Festspiele, and fully-staged performances of The Cunning Little Vixen with Franz Welser-Möst leading the Cleveland Orchestra.

On the concert stage, Andrew Foster-Williams joins the Chicago Symphony Orchestra for Gounod’s St. Cecelia Mass, the Sydney Symphony for Walton’s Belshazzar’s Feast and Bach’s Ich habe genug, and the Royal Liverpool Philharmonic for a concert and recording of Vaughan Williams A Sea Symphony.  International performances of Handel’s Messiah bring the artist to the New York Philharmonic under Andrew Manze, and to the Orchestre Métropolitain for performances conducted by Yannick Nézet-Séguin.

Boasting an extensive discography, 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 (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 Gramophone Award-winning The Fairy Queen with Glyndebourne Festival Opera (Christie).

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Théâtre Royal de la Monnaie, Lohengrin

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

Contact

General Management
Bill Palant, Étude Arts
Ansonia Station,Post Office Box 230132
New York, New York 10023
Tel: 929.777.0775
Email: bp@etudearts.com

European Management
Harrison Parrott
Shirley Thomson, Director & Head of Vocal
Email: shirley.thomson@harrisonparrott.co.uk
www.harrisonparrott.com