Andrew Goodwin

On the concert platform he has appeared with the St Petersburg Philharmonic Orchestra, Moscow Chamber Orchestra, all the major Australian symphony orchestras, and has given recitals at Wigmore Hall, at Oxford Lieder and festivals throughout Australia with his long-term collaborator, Daniel De Borah.

Andrew’s performances this year include returns to Adelaide Festival as Renaud in Stravinksy’s The Nightingale and other fables, Gurrelieder with Sydney Symphony, Elijah with Sydney Philharmonia Choirs,Melbourne Bach Choir for Bach’s Easter and Ascension Oratorios, and each of the Australian Symphony orchestras in repertoire ranging from Messiah, Mozart’s Requiem and Haydn’s Harmony Mass to Beethoven’s 9th Symphony and Orff’s Carmina Burana (also in Singapore).
Recent engagements have included Handel’s “Il Trionfo” with Yulia Lezhneva and Dmitry Sinkovsky (Moscow); Beethoven 9 with the Brandenburg State Orchestra, Germany; Britten’s War Requiem (Brisbane Festival); Lysander, A Midsummer Night’s Dream (Adelaide Festival); Mime, Das Rheingold (Sydney Symphony); Jacquino, Fidelio (West Australian Symphony); Diary of one who disappeared and Rape of Lucretia (Sydney Chamber Opera); Nadir, The Pearlfishers (State Opera South Australia); Artaxerxes title role (Pinchgut Opera), and returns to the Canberra and Sanguine Estate Music Festivals. 

Andrew’s recordings include Schubert’s Die schőne Müllerin and Winterreise and When yesterday we met (songs of Rachmaninov and Tchaikovsky) with Daniel de Borah for ABC Classics, and Artaxerxes (Hasse), Giasone (Cavalli), L’ámant jaloux (Gretry) and L’anima del filosofo (Haydn) with Pinchgut Opera.
Born in Sydney, Andrew studied voice at the St. Petersburg Conservatory with Professor Lev Morozov and in the UK with Robert Dean. The recipient of many awards and scholarships he has also received support from the Australian Music Foundation and ARS Musica Australis

Press
The Mozarts, The Haydns & the Bear, Australian Haydn Ensemble “The distinctive clarity of Andrew Goodwin’s tenor voice – which never wavered, even in the turbulent passages on ‘ingrata’ – is perfectly suited to ‘Va dal furor portata’.” Aryan Mohseni, State of the Art, May 2023

“Goodwin’s word-painting in the recitative and aria Misero sogno – Aura che intorno spiri K 431 was exemplary.” Shamistha de Soysa, SoundsLikeSydney, May 2023