F E A T U R E D   R E V I E W S

 

 

“Andrew Goodwin’s tenor cut through with full-bodied resonance"

Dvorak's Requiem

Limelight - Angus McPherson, September 2019

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"Australian tenor Andrew Goodwin made a particularly favourable impression as Artaserse. Comfortable onstage, he imbued each gesture with an intelligent dramatic impulse, making what can be a rather one-dimensional character not only admirable but interesting. Like Genaux, he sang with musicality and careful attention to text."

Artaserse

Limelight - Justine Nguyen, December 2018

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"Goodwin’s voice having both clarity and strength, a tenor such as you always wanted them to be

Artaserse

Australian Stage - Nicholas Routley, December 2018

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“Andrew Goodwin’s crystalline tenor delivered some of the performance’s most memorable moments”

Handel’s Messiah - Melbourne Symphony Orchestra, December 2018

Limelight - Tony Way

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“Andrew Goodwin impresses with the delivery of his role as the Centurion. His sweet, clear tone is an unalloyed pleasure.”

Berlioz’s L’Enfance du Christ

Melbourne Symphony Orchestra

Limelight - Tony Way, June 2018

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"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..."

Evangelist in Bach's St John Passion
O'Connellthemusic.com, April 2017

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“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."

Evangelist in Bach's St Matthew Passion

Clive O'Connell SMH March 2016

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“Andrew Goodwin, as Tom, displayed the sort of clean-chiselled voice that could have been custombuilt for the role". Stravinsky's The Rake's Progress - Auckland Philharmonia 

NZ Herald, August 2013​

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“The principal pair, Andrew Goodwin (Tamino) and Emma Matthews (Pamina), are noble and true in voice and deed, both displaying gracious attractiveness of sound”. Mozart's The Magic Flute - Opera Australia

Peter McCallum, SMH February 2009

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“The real vocal star was Australian Andrew Goodwin's Lensky”. Tchaikovsky's Eugene Onegin - Bolshoi Theatre

Robert Thickness, Opera Now, UK 2008