Andrew Foster-Williams

With his never over loud, ironic demonry, Andrew Foster-Williams makes perfect casting in the roles of the four villains.
Neue Zürcher Zeitung, Christian Wildhagen

The Four Villains are admirably suited to Andrew Foster-Williams, who with his quilted and mischievous phrasing manages to reveal a specific character to each of the “devils” (moreover in the most refined French language of the cast).
Opera Online, Thibault Vicq

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, New York Philharmonic with Jaap van Zweden, 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, Vladimir Jurowski, Paul McCreesh, Cornelius Meister, Marc Minkowski, Hervé Niquet, Vasily Petrenko, David Robertson, Ulf Schirmer, Emmanuel Villaume, and Lorenzo Viotti among many others.

In the 2020-21 season, he was engaged to sing the four villains in Les contes d’Hoffmann at Komische Oper Berlin as well as in a new production by Andreas Homoki for Opernhaus Zürich conducted by Antonino Fogliani and his dynamic concert calendar included engagements with the BBC National Orchestra of Wales, Gabrieli Consort, Garsington Opera, Royal Liverpool Philharmonic, Seattle Symphony, and Utah Symphony among others.

Last season he was engaged to sing Lohengrin at the Tiroler Festspiele Erl and to give concerts with the Indianapolis Symphony, London Philharmonic, Munich Philharmonic, NFM Wrocław Philharmonic, Orchestre de Radio France, and Royal Scottish National Orchestra.  Performance highlights did include Mozart’s Mass in c minor with the New York Philharmonic, Bach’s Weihnachts-Oratorium with the Oslo Philharmonic, Le damnation de Faust with the National Taiwan Symphony Orchestra, and Iphigénie en Tauride with the Orchestra of the Age of Enlightenment.

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).



Opernhaus Zürich, Les contes d'Hoffmann


Théâtre Royal de la Monnaie, Tristan und Isolde


Théâtre Royal de la Monnaie, Lohengrin


Theater an der Wien, Fidelio (Leonore 1805)


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