Andrew Goodwin


Management: Australasia and Non-Exclusive Asia

The Diary of One who Disappeared, Sydney Chamber Opera

“Andrew Goodwin's portrayal of Janik's descent into madness is beautiful and terrifying to see and hear. Beautiful, because Goodwin's voice negotiates Janik's emotions without losing its focussed but never harsh tone, even at the extremes of the tenor range. And terrifying, because this level of control comes hand in hand with pent-up emotion etched across his face. This is a virtuoso performance.” 

Harriet Cunningham, The Saturday Paper, October 2020

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,, 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

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', April 2017

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

Auckland Philharmonia Orchestra, The Rake’s Progress
“Andrew Goodwin, as Tom, displayed the sort of clean-chiselled voice that could have been custom-built for the role. Not only was he deft 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.”, 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 opera companies in Europe, the UK, Asia and Australia, including the Bolshoi Opera, Gran Theatre Liceu Barcelona, Teatro Real Madrid, La Scala Milan, Opera Australia, Pinchgut Opera and Sydney Chamber Opera.


On the concert platform he has toured with the St Petersburg Philharmonic Orchestra with Maestro Temirkanov, performed with the Sydney, Melbourne, West Australian, 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.


Andrew’s busy 2022 schedule will see him tour and record with the Australian Vocal Ensemble, return to both Sydney Philharmonia Choirs and the Queensland Symphony for Mozart Requiem, to the Melbourne Bach Choir as the Evangelist in the St. Matthew Passion, to the Canberra International Music Festival (and the Australian Haydn Ensemble) for Haydn’s Creation, to the Canberra and Melbourne Symphony Orchestras for Messiah ( the latter to perform Sir Andrew Davis’ version conducted by Sir Andrew himself), and to the Sanguine Estate and Albury Chamber Music Festivals. Andrew will also continue his association with Hayllar Music Tours, appearing in 3 of their chamber music tours, both here and in New Zealand.   


Last year, Andrew marked his return to the stage as Janik in the Sydney Chamber Opera production for Sydney Festival of Diary of one who disappeared (Janacek) and in his role debut as Lysander in Britten’s A Midsummer Night’s Dream for Adelaide Festival, directed by Neil Armfield. He was also engaged to perform the Britten Serenade for Tenor, Horn and Strings with the Sydney Symphony, St. John Passion and Haydn’s Creation with Melbourne Bach Choir, at the Canberra International Music Festival, Sanguine Estate and Albury Chamber Music Festivals, Verdi’s Requiem with Ensemble Apex and Sydney Philharmonia Choirs, Carmina Burana with Sydney Philharmonia and Adelaide Symphony Orchestra, and the world premiere of Richard Mill’s new oratorio, Nativity, also with the Adelaide Symphony. Andrew is a founding member of the exciting new Australian Vocal Ensemble (AVE) with Artistic Director Katie Noonan.


In 2020 Andrew made his debut with West Australian Symphony in the role of Jacquino (Fidelio) with Asher Fisch conducting. He  also performed at the inaugural Bendigo Chamber Music Festival and sang Messiah with Sydney Chamber Choir. Further engagements were to include his return to the Auckland Philharmonia Orchestra for Creation, to Queensland Symphony for their Opera Gala, to the Canberra International Music Festival and the Australian Romantic and Classical Orchestra also for Creation, to the Melbourne Bach Choir to sing the role of the Evangelist in Bach’s St. John Passion, Verdi Requiem with Sydney Philharmonia Choirs, Elijah with Sydney University Graduate Choir, Opera in the Market, Melbourne and Messiah with the Queensland, Adelaide and Melbourne Symphony Orchestras. He was also scheduled to perform, at the BraVo awards in Moscow.


Andrew has recently returned to Melbourne Symphony Orchestra (Mozart Requiem), Melbourne Bach Choir (Evangelist, St Matthew Passion), Canberra International Music Festival (Evangelist, St. John Passion), Sydney Philharmonia Choirs (Dvorak Requiem), sung Messiah with New Zealand Symphony Orchestra, and featured as vocal soloist at the 2019 Huntington Festival, the final year this festival will be held. He also continues his song recital partnership with Daniel de Borah.


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.


In 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).


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:
February 2022
 This biography is for general information purposes only and not for publication.
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