Wagner - Tristan und Isolde (Kurwenal)

La Monnaie, Brussels

Director/Design - Ralf Pleger, Alexander Polzin

Alain Altinoglu, conductor

Andrew Foster-Williams as Kurwenal sang as he acted, with nuance and imagination 

Mark Valencia - Musical America

Vibrant and striking, Andrew Foster-Williams’s Kurwenal raises the bar

Emmanuel Dupuy - Diapason

Director and artist are helped along the way by a superb cast who bring tremendous musical individuality and integrity to their performances... Andrew Foster-Williams as Kurwenal and Franz Josef Selig as King Marke make a strong impression

Ashutosh Khandekar - Opera Now

Andrew Foster-Williams gave us a self-confident Kurwenal with beautiful stage presence

Patrice Lieberman - Bachtrack

Baritone Andrew Foster-Williams masters the ceremonial authority of Kurwenal and draws the character with a ringing voice, rounded and supported delivery… the voice certain and profound

Soline Heurtebise - Olyrix

Andrew Foster-Williams sings an excellent Kurwenal 

Jos Hermans - Flemish Wagner Society

Haydn The Seasons

London Philharmonic Orchestra

Vladimir Jurowski, conductor

Jurowski had the huge advantage of a stellar trio of soloists… [Foster-Williams] found true feeling in the music… sung with totally convincing warmth and focus

Boyd Tonkin - The Arts Desk

Andrew Foster-Williams was often required to use the higher tones of his flexible bass-baritone; his clear diction and light touch in the joyful husbandman’s aria was stylistically ideal

Antony Hodgson - Classical Source

The trio of soloists would be hard to beat… lyrical to the extreme and exceptional in their respective roles… highlighted by the last movement of ‘Winter’ opening with a solemn (and reflective) recitative by Andrew Foster-Williams… delivered by Mr Foster-Williams in a quiet and thoughtful way ★★★★★

Tony Cooper - Planet Hugill

Carl Maria von Weber - Euryanthe (Lysiart)

Theater an der Wien, Vienna

Christof Loy, director

Constantin Trinks, conducting

Lysiart, the evil schemer… Andrew Foster-Williams was physically and vocally intense in this role

Gerhard Persché - Opera magazine

The principals all responded well to Loy’s demands, most notably British baritone Andrew Foster-Williams, who sang Lysiart’s desperate plea to Euryanthe completely nude. His powerful, eloquent voice captured attention from the very first moment, and he was most adept at expressing the character's emotional journey

Bachtrack - Ako Imamura

Andrew Foster-Williams captivates through his acting… his vigorously expressive baritone

Walter Weiderinder - Die Presse

Andrew Foster-Williams embodies the destructive energy of Lysiart with wholehearted intensity

Albrecht Thiemann - Opern Welt

Andrew Foster-Williams as a fantastically acted Lysiart

Elisabeth Stuppnig - Salzburger Nachrichten


What can you not say about the baritone Andrew Foster-Williams. He catches the eye, not only when he wanders and sings on the stage stark naked for fifteen minutes - admirable of the singer… Foster-Williams has a Telramund voice (which he also sings, among other dramatic Wagner roles) and has no fear in playing the well-poisoning villain

Renate Wagner - Online Merker

Andrew Foster-Williams’ Lysiart especially stands out for his use of text

Martin Gasser - Kleiner Zeitung

[Andrew Foster-Williams] demonstrated creative vocal power and sensitive acting skills

Tiroler Tageszeitung

There is first-class acting for the first-class singing! Like Andrew Foster-Williams as Lysiart. He even masters the nude scene, where he creeps around the sleeping Euryanthe and admits the hopelessness of his desire, without any embarrassment 

Jochim Lange - Concerti

Debussy - Pelléas et Mélisande (Golaud)

Opera Basel

Barbora Horáková Joly, director

Erik Nielsen, conducting


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

Marco Stücklin - Das Opernmagazin

Andrew Foster-Williams sang with terrific conviction and solid stature

Sarah Batschlelet - Bachtrack


In his raging, almost pathological jealousy, the hothead Golaud behaves like a wounded animal… With Golaud (Andrew Foster-Williams): You can hear a voice as noble as it is agile

Johannes Adam - Badische Zeitung

Andrew Foster-Williams plays and sings his role convincingly. You feel his violence, can sympathize with his jealousy and suffer with him in his ignorance

Jakob Lorenz Fribourg - Online Merker

Wagner - Lohengrin (Friedrich von Telramund)

Théâtre Royal de la Monnaie, Brussels

Olivier Py, director

Alain Altinoglu, conducting


As Telramund, Andrew Foster-Williams sounded imposing

Nicholas Blanmont - Opera magazine


Andrew Foster-Williams' Telramund has in his voice the poisonous virulence of his words

Marie-Aude Roux - Le Monde


The cast is truly royal… The British baritone Andrew Foster-Williams grasps Telramund with aplomb, served by a vibrant timbre and great breath control

Emmanuel Andrieu - Opera Online


Eric Cutler's plume and subtle shades in Lohengrin produce wonders, as does the quiet confidence of Gabor Bretz, King, and the aggressive energy of Andrew Foster-Williams (Telramund).

Christian Jade - Radio Télévision Belge Francophone


Andrew Foster-Williams spits Telramund’s venom with haughty arrogance

Emmanuel Dupuy - Diapason


Andrew Foster-Williams gives [Telramund] all the required venom

Christine Ducq - La revue du Spectacle

Gounod - Faust (Méphistophélès)

Théâtre des Champs-Élysées

Les Talens Lyriques - Christophe Rousset, conducting


In Mephisto, Andrew Foster-Williams consoled us after so many emphatic Slavic basses. A beautiful vocal line based on the words, a jovial or disturbing tone. He perfectly undersands the style of this French devil.

Jacques Bonnaure - Opéra magazine


Highlights included a new Act I aria for Méphistophélès, 'Maître Scarabée', sung with artful drama by Andrew Foster-Williams

Alexandra Coghlan - Opera magazine


Andrew Foster-Williams is as Méphistophélès like a fish to water: his natural comic gift serves the character perfectly, and his bass baritone voice refreshes us nicely after so many monstrous Slavic devils.

Laurent Bury - Forum Opera


Irresistible in the spoken [French] dialogue, Andrew Foster-Williams is as diabolical a Mephisto as one could wish for and musically superb.



Andrew Foster-Williams gave us an extrovert Méphistophélès of undeniable personality and in impeccable French, both in the dialogue and in the sung numbers. He caressed the text with the love of a native speaker and so much of what he did was based in that clarity of diction.



The Mephisto of Andrew Foster-Williams has many assets. An imperceptible accent coupled with a real British chic add an ironic colour to the character, and not only a demonic one, which is often the case. Again, everything is in subtle measure and careful diction.

Jean-Pierre Robert - ON Magazine


Through the performance of Andrew Foster-Williams, Méphistophélès is liberated from the role of a droning diabolus in musica. Take for example the serenata "Vous qui faites l'endormie" when the devil appears as Schleppfuß; [Foster-Williams] presents this like a song with sweetly poisoned colours

Jürgen Kesting - Frankfurter Allgemeine Zeitung

Godard - Dante (Virgil) CD Recording

Münchner Rundfunkorchester  

Ulf Schirmer, conducting

Nominated for International Classical Music Award 2018


Andrew Foster-Williams stands out with his warm timbre and elegant phrasing

Eric Myers- Opera magazine


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

Laurent Bury - Forum Opera

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

Saint-Saëns - Proserpine (Squarocca)

Münchner Rundfunkorchester  

Ulf Schirmer, conducting

WINNER International Classical Music Award 2018 - BEST OPERA RECORDING


Andrew Foster-Williams oozes dangerous charisma as Squarocca

Hugo Shirley - Opera magazine


Andrew Foster-Williams’s biting baritone makes for a splendid Squarocca

Mark Pullinger - Gramophone


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

Haydn The Seasons - CD recording

Gabrieli Consort

Paul McCreesh, conductor

Nominated for International Classical Music Award 2018

BBC Radio 3 Record Review - Disc of the Week

Gramophone Magazine - Editor's Choice

Presto Classical - Disc of the Week

BBC Music Magazine - Recording of the Month


The three soloists are first-rate. So is the recording. An uplifting performance all-round *****

Richard Fairman - Financial Times


Andrew Foster-Williams, more baritone than bass, makes a genial, firm-voiced Simon, singing his ploughman’s song with unforced gusto – impressive agility, too – and bringing a grave eloquence to his valedictory aria in Winter.

Richard Wigmore - Gramophone


Top-class solo singing… Glorious

Nicholas Kenyon - The Observer


Andrew Foster-Williams, who grabs attention from the off with his description of departing Winter’s ‘blust’ry ruffians’ relishes every nuance

Katherine Cooper - Presto Classical


Radiant soloists

Andrew McGregor - BBC Radio 3 Record Review

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


When bass-baritone Andrew Foster-Williams began, I was impressed by the power of projection that he had. His voice had a sweet depth in it with sharp German diction

Mayumi Wardrop - Bachtrack

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


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)


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