Janáček - The Cunning Little Vixen

Cleveland Orchestra  

Franz Weiser-Möst, conducting

One could have listened without end to bass baritone Andrew Foster-Williams

Zachary Lewis - The Plain Dealer


Godard - Dante (Virgil) CD Recording

Münchner Rundfunkorchester  

Ulf Schirmer, conducting

Andrew Foster-Williams is a Virgil that we would willingly follow to Hell or to Heaven

Laurent Bury - Forum Opera


Saint-Saëns - Proserpine (Squarocca)

Münchner Rundfunkorchester  

Ulf Schirmer, conducting

Andrew Foster-Williams oozes dangerous charisma as Squarocca

Hugo Shirley - Opera magazine

 

Andrew Foster-Williams finds in Squarocca one of those villainous characters in which he excels, and which one can see as a preparation for the Méphistophélès in the recreation of the original version of [Gounod’s] Faust that he will perform in Paris in June 2018

Laurent Bury - Forum Opera


Delibes - Lakmé (Nilakantha)

Münchner Rundfunkorchester  

Laurent Campellone, conducting

Very noteworthy, because of his remarkable, very beautiful, interpretation of Nilakatha was Andrew Foster-Williams. He portrays the role of the terrifying father of the young Hindu as a wrathful deity, with his powerful baritone voice, impeccable projection, a strong stage presence and a fierce portrayal of a guardian and a protector of the divine laws.

Luc Roger - Opera World


Elgar: The Dream of Gerontius

The Minnesota Orchestra  

Edo de Waart, conducting

Andrew Foster-Williams brought a suave dignity to the roles of Priest and Angel of the Agony

Michael Anthony - Star Tribune


Bach: St John Passion (Christ & arias)

The Cleveland Orchestra  

Franz Welser-Möst, conducting

Andrew Foster-Williams, the bass-baritone who sang the part of Jesus, went the extra dramatic mile to portray a fully animated character living and feeling in the moment. Foster-Williams was a commanding and resonant figure throughout

Zachary Lewis - The Plain Dealer


Beethoven: Symphony No.9 (Choral)

San Francisco Symphony Orchestra  

Herbert Blomstedt, conducting

Bass-baritone Andrew Foster-Williams gave a free and easy, gesture-filled opening solo, which rode effortlessly over the distance from the back of the stage

David Bratman - San Francisco Classical Voice


Mendelssohn: Elijah

Charlotte Symphony Orchestra  

Giancarlo Guerrero, conducting

The performance relied most on bass-baritone Andrew Foster-Williams. Without overacting, he turned the title role into a character: dignified, implacable, ironic, resigned, weary, peaceful, interacting with the chorus. He remained focused on his last emotion when he wasn’t singing and took up a new one when his resonant, flexible voice came into play. His exemplary diction also made clear each utterance of this doom-saying, despairing man

Lawrence Toppman - Charlotte Observer


Les Voyages de Don Quichotte (Title role)

Opéra National de Bordeaux

Marc Minkowski, conductor

Our language [French] holds no secrets for Andrew Foster-Williams... His death is full of an admirable modesty, a beautiful moment of emotion

Laurent Bury - Forum Opera


Wagner - Götterdämmerung (Gunther)

Royal Festival Hall, London

Richard Farnes, conductor

Winner BEST OPERA PRODUCTION Royal Philharmonic Society Awards 2017

Winner BEST OPERA PRODUCTION South Bank Show Awards 2017

 

Andrew Foster-Williams outstanding as the easily manipulated, nervy Gunther

Hugo Shirley - Financial Times

 

Andrew Foster-Williams was a strongly sung Gunther

Martin Kettle - The Guardian

 

The formidable baritone Andrew Foster-Williams, full of passion

Katy Oberlé - Anaclase

 

Andrew Foster-Williams [was] fabulous as the Gibichung Gunther… Foster-Williams giving a vivid portrayal of an utter coward 

Mark Pullinger - Bachtrack

 

I also greatly liked Andrew Foster-Williams’ powerfully sung Gunther

Stephen Jay-Taylor - Opera Britannia

 

Andrew Foster-Williams was finally able to showcase his large voice

Colin Clarke - Opera Today

 

The desperate glances of Andrew Foster-Williams’s increasingly disturbed Gunther fall directly on us, pleading for deliverance from a plan spiralling swiftly out of control… A large part of the pleasure of this cycle has come from Farnes’s world-class company of singers... Foster-Williams’s exquisitely chilly and self-controlled Gunther

Alexandra Coghlan - The Arts Desk


Saint-Saëns - Proserpine (Squarocca)

Münchner Rundfunkorchester

Ulf Schirmer, conductor

Always expressive, Andrew Foster-Williams flourishes with the colourful character of Squarocca

Laurent Bury - Forum Opera


Gounod - Cinq Mars (Père Joseph) - CD recording

Münchner Rundfunkorchester

Ulf Schirmer, conductor

Andrew Foster-Williams sings a disturbing and powerful Père Joseph, whose vocal authority alone seems to send his opponents to their deaths

Jacques Bonnaure - Opéra magazine

 

Andrew Foster- Williams is a deliciously despicable Père Joseph

Laurent Bury - Forum Opéra

 

Andrew Foster-Williams brings new meaning to the Church’s excesses through his nefarious overtones as Père Joseph

Christie Grimstad - Concerto Net

 

Andrew Foster-Williams is menacing as the cardinal’s villainous representative.

The Sunday Times (London) Sunday Times “CD of the Week”


Britten - Peter Grimes (Captain Balstrode)

Theater an der Wien, Vienna

Christof Loy, Director

Cornelius Meister, conductor

WINNER Best New Production “International Opera Awards 2016”

 

Andrew Foster - Williams is a ravishing Balstrode

Peter Jarolin - Kurier

 

Andrew Foster-Williams gives a Captain Balstrode of distinctive stature

Ernst P. Strobl - Salzburger Nachrichten

 

Balstrode, hopelessly tangled in the power of suppressed emotions, is forcefully played and sung by Andrew Foster-Williams

Christian Wildhagen - Neue Zürcher Zeitung

 

This Balstrode becomes as interesting a figure as the title role - a challenge superbly met by Andrew Foster-WIlliams whose passionate and unabashed acting well compliments his effortlessly expressive singing.

Moore Parker - The Opera Critic

 

Andrew Foster-Williams is in every respect a brilliant Balstrode

Susanne Zobl - news.at

 

Andrew Foster-Williams is totally convincing as Captain Balstrode

Bernard Neuhoff - BR Klassik

 

Most astonishing in this production is Balstrode

Walter Weidringer - Die Presse

 

Briton Andrew Foster - Williams was totally convincing as Balstrode, not only with a powerful voice, but also with a study of uncertainty and sadness that makes this character more tangible than usual

Renate Wagner - Der Neue Merker


Fauré Requiem - CD recording

Brussels Philharmonic

Hervé Niquet, conductor

With the Libera me [Andrew Foster-Williams] injects the only real note of tension into the work with appropriate gravitas but without sounding excessively operatic

Marc Rochester - Gramophone

 

I enjoyed both of Andrew Foster-Williams' solos very much indeed; his voice is firmly focussed and the tone is consistently pleasing.

John Quinn - MusicWeb International


Gilbert & Sullivan - HMS Pinafore (Captain Corcoran) - CD recording

Orchestra of Scottish Opera

Richard Egarr, conductor

Andrew Foster-Williams isn’t the first Captain Corcoran to out-sing his First Lord and crew; his flexible bass-baritone is another one of the set’s real pleasures.

Richard Bratby - Gramophone

 

Andrew Foster-Williams's “Fair Moon, to thee I sing” is gorgeous

Graham Rickson - The Arts Desk


Beethoven - Symphony No 9

Baltimore Symphony Orchestra

Nicholas McGegan, conductor

[McGegan] was supported, especially, by Andrew Foster-Williams who 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. 

Anne Midgette - The Washington Post


Mendelssohn - Elijah

Sydney Opera House

Sydney Symphony Orchestra

Paul McCreesh, conductor

Bass-baritone Andrew Foster-Williams was outstanding in the title role. Vocally, he impressed with his resounding strength, unadorned clarity, shapely phrasing and excellent diction. Foster-Williams’s Elijah was also brilliantly characterised as he assuredly traversed the prophet’s many mood swings.

Murray Black - The Australian

 

As Elijah, Andrew Foster-Williams was a revelation. More than simply the old-testament prophet, he dramatised the hopes and fears of a figure that in lesser hands can come over as a blinkered fanatic. Vocally confident and secure, his rich baritone sailed over all obstacles, helped by the fact that he has the money notes that Mendelssohn always seems to require to ring out on the word “Lord”. His diction was superlative, his use of the text gripping. 

Clive Paget - Limelight

 

Andrew Foster-Williams portrayed Elijah with glowing richness and fierceness bordering on relish

Peter McCallum - The Sydney Morning Herald


Mendelssohn - Elijah

Handel & Haydn Society of Boston, Boston Symphony Hall

Grant Llewellyn, conductor

Andrew Foster-Williams, has grit and a bit of a growl to his voice, just what you want from a biblical prophet. He was ferocious in his aria likening God to a hammer, then melting in ‘It is enough’, when he asks the Lord to take away his life.

Jeffrey Ganz - The Boston Globe


Rossini - Guillaume Tell (Title role) - Naxos recording

Virtuosi Brunensis

Antonino Fogliani, conductor

Foster-Williams marries an appropriately sympathetic theatrical portrayal with vocal production that is both focused and refined.

Richard Osborne - Gramophone


Rossini - Mosè in Egitto - Moses in Egypt (Faraone - Pharaoh)

Welsh National Opera

David Pountney, Director

Carlo Rizzi, conductor

Andrew Foster-Williams and Christine Rice, are formidable.

Hugh Canning - The Sunday Times (London)

 

The virtuosity and range of the baritone Andrew Foster-Williams.

Hilary Finch - The Times (London)

 

Andrew Foster-Williams sang with smooth, dark elegance of tone

Peter Reynolds - Opera Now

 

WNO has assembled an outstanding ensemble cast... Andrew Foster-Williams brings agility and weight to Pharoah’s music.

Hugo Shirley - The Spectator

 

Foster-Williams impressed greatly as Faraone... both musical and dramatic in his solo, with an admirable facility for passagework, but it was the entirety and completeness of his performance which really impressed.

Robert Hugill - Opera Today

 

Miklós Sebestyén’s Mosè is a vocal force. He is ably matched by Andrew Foster-Williams’s Pharaoh

Rian Evans - The Guardian

 

Foster-Williams gave the most striking vocal performance of the evening, and was especially effective in “Cade dal ciglio il velo”, undaunted by the elaborate coloratura and the long-phrased melodies

Simon Rees - Bachtrack


Dmitri - Joncières (CD recording)

Brussels Philharmonic Orchestra

Hervé Niquet, conductor

Andrew Foster-Williams has the bite of the darkly comic villain, but never resorts to caricature 

Christian Wasselin - Opéra Magazine

 

Best of all is Andrew Foster-Williams as the dyed-in-the-wool Count Lusace, singing with compelling tone and snarling without ever overstepping the bounds of taste

Clive Paget - Limelight Magazine

 

Andrew Foster-Williams, offers a black coppered evil to the character of Lusace

Bertrand Bolognesi - Anaclase


Beethoven - Cantata on the Death of Emperor Joseph II (CD recording)

San Francisco Symphony

Michael Tilson Thomas, conductor

Andrew Foster-Williams gives a vivid account, ranging over nearly two octaves, of Joseph crushing the head of the “monster called Fanaticism”.

Richard Lawrence - Gramophone


Bass-baritone Andrew Foster-Williams stands out among the vocal soloists for the eloquence of his singing.

Joshua Kosman - San Francisco Chronicle

 

Andrew Foster-Williams particularly good evoking the ogre of “Fanaticism” that Joseph II allegedly banished.

Richard Morrison - The Times (London)


Wagner - Lohengrin (Friedrich von Telramund)

Le Festival de Lanaudière

Yannick Nézet-Séguin, conductor

Ortrud’s [Jane Henschel] co-conspirator, Friedrich of Telramund, was no less lifelike as portrayed by the splendidly focused British bass-baritone Andrew Foster-Williams

Arthur Kaptainis - Montreal Gazette


Dauvergne - Hercule Mourant (Hercules)

Opéra National de Versailles - Aparté recording

Les Talens Lyriques

Christophe Rousset, conductor

Hercule shows heroic resolve, a frame of mind that Andrew Foster-Williams’ rich bass- baritone and commanding bearing impressively convey

George Loomis - Opera 

 

Top honours, though, go to bass-baritone Andrew Foster-Williams as Hercules himself... from his first sentence he imbues Marmontel's heightened lyrics and Dauvergne's commanding vocal phrases with ringing authority. 

International Record Review

 

A strong cast is led by Andrew Foster-Williams in the bass-baritone title role, Véronique Gens as his wife Deianira and tenor Emiliano Gonzalez Toro as Hilus

Andrew Clark - Financial Times

 

Hercule’s bitter shame at his unworthy deceit of his wife at the start of Act 3 is sung commandingly by Andrew Foster-Williams.

David Vickers - Gramophone

 

Andrew Foster-Williams is a nuanced, multi-faceted Hercules

Katherine Cooper - Presto Classical

 

Andrew Foster-Williams (Hercules) has the measure of the drama in his role

BBC Music Magazine

 

A strong vocal line-up, among whom Veronique Gens and Andrew Foster-Williams deserve special mention, sets the seal on a fine achievement 

Classical Music

 

Andrew Foster-Williams and the great Véronique Gens play Hercules and Deianira with a passionate intensity that proves all the more remarkable for their avoidance of flashy histrionics. 

Tim Ashley - The Guardian


Rossini - Guillaume Tell (Title role)

Rossini in Wildbad

Antonino Fogliani, conductor

Tell was sung by Andrew Foster-Williams. He has a powerful baritone, which is strong in its heights, with beautiful colours

Lennaert van Anken, Operamagazine NL

 

Andrew Foster-Williams - in whose blazing voice one can hear the outrage of the Homeland - a singer on the way to becoming a Heldenbaritone

Badische Zeitung

 

Bass-baritone Andrew Foster-Williams shines with internalized dramatic power

Eckehard Uhlig - Die Deutsche Bühne

 

Andrew Foster-Williams earthy baritone, with lush sound, is initially underlined by his expressive recitative, before this later develops in the arioso passages into a hot flowing legato with natural height

Udo Klebes - Der Neue Merker

 

Andrew Foster-Williams shone in the title role, and seemed to have the interpretation of Tell written in his body. He sings this not necessarily pleasant guy, this fighter, with a very meaty and powerful bass-baritone

Manfred Langer - Der Opernfreund

 

Andrew Foster-Williams sang the title role with his rich, always moving, baritone

Deutsche Presse-Agentur

 

Bass-baritone Andrew Foster-Williams brilliantly masters the title role

Werner Müller-Grimmel - Stuttgarter Nachrichten

 

Andrew Foster-Williams added interesting nuances to Rossini’s often one-dimensional William Tell

Michael Stallknecht - Süddeutsche Zeitung

 

Andrew Foster-Williams as William Tell with his powerful baritone, is a splendid specimen of a revolutionary!... Foster-Williams and [Michael] Spyres as Tell and Arnold: What vocal charisma! What energy!

GEA, Reutlinger Generalanzeiger

 

[Andrew Foster-Williams] gives the words exactly the proper weight and expressiveness

Maurice Salles - Forum Opéra


Beethoven - The Cantata on the Death of Emperor Joseph II

San Francisco Symphony

Michael Tilson Thomas, conductor

Of the two chief vocal soloists, bass-baritone Andrew Foster-Williams delivered his one heroic aria with forthright vigor.

Joshua Kosman - San Francisco Chronicle


Bach - St. Matthew Passion

Philadelphia Orchestra

Yannick Nézet-Séguin, conductor

Two of the three British singers involved, Karen Cargill and Andrew Foster-Williams, proved excellent. One looked forward to their every intervention. The bass-baritone again showed himself a paragon of cleanly produced passagework with a handsome, forward tone and due gravitas.

David Shengold - Opera News


Brahms - Ein deutsches Requiem (DVD)

Orchestre des Champs-Élysées

Philippe Herreweghe, conductor

The soloists are excellent. Andrew Foster-Williams is solemn and authoritative in 'Herr, lehre doch mich’”

Richard Lawrence - Gramophone Magazine


Dauvergne: Hercule Mourant (Hercules)

Opéra Royal du Château de Versailles

Les Talens Lyriques

Christophe Rousset, conductor

Hercule himself was sung with great authority by Andrew Foster-Williams

Brian Robins - Opera

 

With great presence, charisma and an unparalleled, almost surreal, incarnation of Hercules, Andrew Foster-Williams is an ideal. His bass-baritone sound is coppery, powerful and colourful, his vocals and his prosody are connected with an ease and creativity in flawless ornamentation. This is the highest triumph so far for this great singer who came recently to the French repertoire and who fills us with his commitment to its psychological and dramatic roles

Pedro-Octavio Diaz - Muse Baroque

 

The Royal couple: Andrew Foster-Williams, a man of marble, and Véronique Gens, his destroyed wife, are both perfect in colour and in language

Ivan A. Alexandre - Diapason magazine


Beethoven: Fidelio “Don Pizarro”

Sir Richard Armstrong, conductor

Tim Albery, director

Opera North

Andrew Foster-Williams's superb Pizarro

Richard Morrison - TheTimes (London)

 

The finest singing came from Andrew Foster-Williams's evilly beautiful Pizarro

Tim Ashley - TheGuardian

 

Andrew Foster Williams’s nasty Eichmannesque bureaucrat of a Pizarro sang [his] aria expertly

Rupert Christiansen - The Telegraph

 

Andrew Foster Williams brings lieder-like clarity to the jealous ravings of Don Pizarro

Anna Picard - The Independent on Sunday

 

As Pizarro, Andrew Foster-Williams offered plenty of heft and easy maneuverability in his lean and hungry vocalism

George Hall - Opera News

 

Andrew Foster-Williams’s Pizarro has a tensile strength of purpose that makes his villainy frighteningly real

The Stage

 

As the baddy of the story Andrew Foster-Williams gave a formidable sung and acted portrayal, his bespectacled demeanour sent a chill down my spine whilst his declamation, even at forte, was first class.

Robert J Farr - Seen & Heard International

 

There’s a brilliant turn from Andrew Foster Williams as the villain Don Pizarro, overdressed in a natty suit and waving a sharp letter opener; a frightening depiction of petty evil

Graham Rickson - The Arts Desk

 

This costume concept is used most successfully for Pizarro, with bass-baritone Andrew Foster Williams creating the feeling of faceless, corporate evil in an expensive suit and permanent sunglasses. He delivers the hugely dramatic aria Ha! Welch ein Augenblick with a power that is intentionally at odds with his lack of physical energy. Sitting casually at his desk, he boomed the famous 'Triumph!' with little more than a flick of his letter-opener to remind us of his murderous intentions. His vocal performance is undoubtedly one of the highlights of this Fidelio

Laura Kate Wilson - Bachtrack


Stravinsky: The Rake’s Progress (Nick Shadow)

Opéra National de Lorraine

Tito Muñoz, conductor

This charismatic bass-baritone, singing brilliantly and dominating the stage

Rolf Fath - Opera

 

Andrew Foster-Williams 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, he easily makes his mark in the role of Nick - this is particularly justified in the magnificent final scenes in which the British bass-baritone excels

François Lehel - Opéra

 

The standout of the cast is baritone Andrew Foster-Williams, who sings a remarkable Nick Shadow with elegance and assurance

Didier Hemardinquer - Est Republicain

 

The great discovery of the show is Andrew Foster-Williams. He is English, a dark baritone, he is just 37, and embodies the devilish Nick Shadow with stunning humour. He possesses a voice of fire, clear diction and an obvious pleasure in playing the bad guy, and perfectly represents an envoy from hell who delights in pulling the strings of the drama

Caroline Alexander - Webthea


Haydn: Die Jahreszeiten (The Seasons)

Concert and ‘LSO Live’ CD recording

Sir Colin Davis, conductor

London Symphony Orchestra

“Editor’s Choice” Gramophone

“Editor’s Choice” BBC Music Magazine

“Disc of the Month” Hi-Fi News

 

Foster-Williams’ force and authority rang through the hall

Geoff Brown - The Times (London)

 

Andrew Foster-Williams’ vivid bass-baritone, a model of vocal security and textual definition

George Hall - BBC Music Magazine

 

Andrew Foster-Williams as Simon is a real bass-baritone, excelling as ploughman or huntsman and never turning cavernous

Piers Burton-Page - International Record Review

 

Andrew Foster-Williams, a fine classical stylist, is breezily extrovert in the ploughman’s song and the bird-shoot, and brings a grave intensity of line to his momento mori in Winter

Richard Wigmore - Gramophone

 

Andrew Foster-Williams’ robust, polished singing in the bass-baritone’s musical numbers ensures that the aria quoting the Surprise Symphony is duly amusing and the dramatic aria describing the shooting of a bird is charged with tension

George Loomis - The Classical Review

 

The best section is "Winter," since Haydn did less tone-painting here, and since the oracular, rotund quality of baritone Andrew Foster-Williams suits the proclamation about the power of God

William R. Braun - Opera News


Beethoven: Fidelio “Don Pizarro”

The Orchestra of the Age of Enlightenment

Ádám Fischer, conductor

The churning figurations beneath Pizarro's aria suggested the eruption of some malevolent spiritual force. In keeping with Fischer's approach, Andrew Foster-Williams gave us a demonic Pizarro

Tim Ashley - TheGuardian

 

Andrew Foster Williams sang strongly as Don Pizarro 

Hugo Shirley - The Telegraph


Händel: Messiah

Bernard Labadie, conductor

The New York Philharmonic

Avery Fisher Hall, New York

The most consistently pleasing of the four was Andrew Foster-Williams, a forceful bass-baritone with a rich timbre

Allan Kozinn - TheNew York Times


Bach: Mass in F major "Lutheran"

Cleveland Orchestra

Franz Welser-Möst, conductor

Under the baton of Franz Welser-Möst, the orchestra pulled out all the stops to produce an evening that audiences will likely remember for the rest of their lives... Foster-Williams was particularly outstanding and explored his range to great effect

The Observer


Händel: Messiah

Bernard Labadie, conductor

Les Violons du Roy

Carnegie Hall, New York

Most effective was Andrew Foster-Williams, the bass-baritone in “Messiah,” who dispatched the quavering figures depicting fire and rage with full-bodied tone despite Mr. Labadie’s brisk tempos and was just as effective intoning the serene “great light” seen by “the people that walked in darkness.”

James R. Oestreich - TheNew York Times


REVIEW OF THE YEAR’S BEST IN CLASSICAL MUSIC

Pelléas et Mélisande featured an extraordinary performance from Andrew Foster-Williams as Golaud

Anna Picard - The Independent on Sunday


Debussy: Pelléas et Mélisande “Golaud”

Independent Opera at Sadler’s Wells (London)

Production nominated for a ROYAL PHILHARMONIC SOCIETY AWARD

Andrew Foster-Williams' Golaud is the centre of this production. Awkward, conventional, stiff with unexpressed emotion, hideously disappointed, shoe-horned into suspicion and grotesquely realistic domestic violence, he is as much, if not more, the victim. It's beautiful singing – impassioned, truthful. I found Foster-Williams the most moving Golaud I have heard 

Anna Picard - The Independent on Sunday

 

Dominating the whole evening, though, was Andrew Foster-Williams as a wiry, obsessed Golaud. Using each twitch and leap he depicted every nuance of Golaud's tension and anxiety. Indeed, after years of seeing Pelleas in productions on both sides of the Channel, I have seldom heard a better-enunciated performance 

Patrick O'Connor - Opera

 

The dark, resonant bass-baritone of Andrew Foster-Williams as the tortured Golaud, a singer whose voice has blossomed into something very special these past few years. The tone was fully supported and consistent through the range, he has power to spare and obviously relishes this kind of dramatic challenge

Sue Loder - Opera Today

 

Andrew Foster-Williams acted and sang with impressive authority as the wretched Golaud

Rupert Christiansen - The Daily Telegraph

 

Andrew Foster-Williams dominated the stage whenever he was present. This fine artist has done many creditable things before but I have rarely seen him give a performance of such raw power and emotional charge. As events proceeded you could feel him gradually disintegrate in an explosion of bottled up emotion, turning to anger and sexual jealousy 

Robert Hugill - Music & Vision

 

Golaud seems less interested in loving Mélisande than in denying his half brother the right to grow up and think for himself. In spite of the period costumes, Pelléas et Mélisande emerges as very modern and very scary. Talevi’s biggest triumph is to get his cast to act this family tragedy so realistically. Andrew Foster-Williams turns Golaud into a study of abuse 

Andrew Clark - Financial Times 

 

...the total effect is mesmerising and the originality of the opera comes across with full force, notably Golaud's scarifying attack on Melisande which is even more harrowing than the equivalent scene with Otello and Desdemona in Verdi's Act 3... Andrew Foster-Williams could not be faulted in his pronunciation of the [French] text

Peter Grahame Woolf - Musical Pointers


Haydn: Mass in D minor “Lord Nelson”

The Cleveland Orchestra

Franz Welser-Möst, conductor

The [Cleveland] orchestra was joined by a fine quartet of soloists... most imposing of all, bass-baritone Andrew Foster-Williams.

Donald Rosenberg - Cleveland Plain Dealer


Händel: Messiah

Britten Sinfonia & Polyphony

Stephen Layton, conductor

St. John’s Smith Square, London

The most eloquent singing came from Andrew Foster-Williams. He sang as if telling a story that he really wanted us to understand. That story may be ancient but here it had the urgency of tomorrow's headlines.

Nick Kimberley - London Evening Standard


Beethoven: Symphony No.9 (Choral)

Philharmonia Baroque Orchestra      

Davies Symphony Hall - San Francisco

The vocal quartet introduced the splendidly sonorous English bass-baritone Andrew Foster-Williams, who elucidated the Schiller verse with Old Testament authority

Allan Ulrich - San Francisco Chronicle

 

Andrew Foster-Williams jumped up and proclaimed, “Not these tunes, this tune”, and swung into the "Ode to Joy". It was a riveting performance; he was absolutely transported.

Anna Carol Dudley - San Francisco Classical Voice


Schubert: Winterreise

Royal Opera House (Linbury Studio)

It's a huge challenge for any singer, and Foster-Williams confronted it honourably, avoiding the temptation to add histrionics to Schubert's resonant notes.

George Hall - The Independent on Sunday