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Messiah
Leeds, UK, December 2011 English Chamber Orchestra The outstanding performance of the evening... was delivered by countertenor Andrew Radley. A graduate of the Royal College of Music, Radley specialises in operatic roles written for the alto castrato voice and is particularly at home with Handel, having performed in a huge number of the composer's operas and oratorios. Even if you're not a fan of the countertenor voice, it would be hard to listen to Radley's beautiful, pure tone and not be impressed. Hearing his But who may abide the day of his coming was a bit like being transported to the 17th-century heyday of the castrati. As Messiah progressed, I found myself anticipating the alto arias and duets the most keenly. Radley and Hulett's voices blended particularly well on O death, where is thy sting?, creating a wonderfully harmonious baroque sound. Conversazioni 1 - CD Counter-tenor
Andrew Radley, for whom this is also a first
recording, is superb. While the
cantatas on this disc tend to wallow in
lovesickness, Radley finds a myriad of
different colours and vocal moods, playing
swooning and discarded as well as he does
springing and agitated.
- Early Music Today / Classical Music December 2011 Andrew Radley demonstrates tender story-telling skills... In gentle arias Radley's singing has affectionate intimacy and delicacy (such as Caldara's lovely last aria, Parto mio ben costante). I look forward to Volume 2. - Gramophone, October 2011 Countertenor Andrew Radley is both swoonsome and stately, depending on the material: the somewhat melancholy progress of Albinoni's Senza il core del mio bene, for instance, befitting a love plaint of such wretched torment, while a more playful involvement suits Handel's Vedendo Amor, with its tortuous tale of mythic enslavement by Cupid. - The Independent, July 2011 Andrew Radley's career has developed fast since he left the Royal Academy of Music in 2004. There's a seductive tonal warmth (sometimes too seductive) to his voice. The countertenor does let loose the cutting edge necessary to project the dramatic angst of Handel's Mi palpita il cor ('My heart throbs'). He also interacts as a fully engaged chamber musician with Sounds Baroque and its impressive director and harpsichordist Julian Perkins. It's heartening to discover yet another group of young musicians, fuelled by intellectual curiosity and a corporate commitment to excellence, with enterprise and genuine flair. Roll on Conversazioni II. - Andrew Stewart, Classic FM Magazine, September 2011 Andrew Radley's warm, nimble countertenor invariably crafts a shapely vocal line... With delightfully expressive woodwind 'conversations' topping and tailing the disc, classy continuo, and deftly imaginative programming, Sounds Baroque proves a stylish ornament to the most discerning Cardinal's Court. Roll on Conversazioni Vol. 2! - BBC Music Magazine, November
2011
Orlando, Scottish Opera 2011 ...
Scottish Opera production of Orlando is
a little triumph [...] Andrew Radley lends
strong support as Medoro...
- Rupert Christiansen, The Telegraph ...
brilliant new production [...] dramatically,
it is spot on. But musically it is stunning,
with fantastic singing from Sally Silver
(Angelica) countertenors Tim Mead and Andrew
Radley
- Michael Tumelty, Herald Scotland ... a thing of real beauty, [Angelica’s] natural vulnerability worked particularly well in duets with Andrew Radley.... - Carla Whalen, The Scotsman ... undeniably gifted Radley - Derval Tannam, The Journal Radley sings with fervour - Catriona Graham, The Opera Critic Alfred, Classical Opera Company 2010 We
meet Alfred’s son Edward in the shape of
countertenor Andrew Radley, whose timbre has
a juicy masculinity
- Michael Church, The Independent erxes, Iford Arts 2010 Andrew
Radley brought real passion to the role of
Arsamene
- Ashutosh Khandekar, Opera Now Andrew Radley is (...) impressive as the king’s brother Arsemene - Andrew Clements, The Guardian ... the expressive warm-toned countertenor of Andrew Radley (Arsemene)” - Sue Loder, Opera Today Messiah, Bachchor Mainz 2009 The
British Andrew Radley has made a name for
himself as an interpreter of Baroque and
Handelian roles. His voice is very flexible
with soaring high notes.
- Rebecca Hack, Allgemeine Zeitung Mainz ... the wonderful aria He was despised which Andrew Radley expands to breaking point and fills with tension... - Matthias Mader, Mainzer Rhein Zeitung Venus and Adonis - Transition Opera, Christian Curnyn 2009 ...
there was impressive singing from the
countertenor Andrew Radley (Cupid)
- The Times, Richard Morrison ...
a quirky Cupid... Andrew Radleys Cupid was
lively and enjoyable throughout, with a
strong vocal performance that carried well
- MusicalCriticism.com Flight - British Youth Opera, Nicholas Cleobury 2008 ...
the Refugee, outstandingly sung by the
counter-tenor Andrew Radley. The latters
account of his escape to the west during
which his brother froze to death is a
musical and emotional peak
- Opera ... Andrew Radley's touching Refugee... - The Times ... the Refugee, sung with appropriate otherworldliness by Andrew Radley - Opera Now Giulio Cesare - Freiburger Barockorchester, Jacobs 2008 Andrew
Radley (Nireno), vocally enticing and
dramatically involved, formed a very
sympathetic pairing with Sandrine Piau as
her acolyte and accomplice.
- ResMusica.com Poro - Goettingen Festival Young British countertenor Andrew Radley stepped in as a last- minute replacement singing the role of Gandarte. He acquitted himself extremely well both dramatically and musically... - Opera Magazine Tamerlano - Cambridge Handel Opera Group 2005 Countertenor
Andrew Radley has a strong stage presence
and his Tamerlano rightly often dominated
the stage. Radley seemed at ease with the
complex passage-work that characterises some
of Tamerlano's arias. I look forward to
hearing and seeing much more of Andrew
Radley as he seems a natural stage creature.
- Robert Hugill, MV Daily Tamerlano himself, sung by the commanding Andrew Radley, was suitably repellent - Opera magazine Flavio, Early Opera Company 2005 [Flavio]
is not a heroic role, but Handel wrote it
for the castrato Berenstadt ... and the
countertenor Andrew Radley seized his
opportunities, with strongly projected
singing, to make something of the king's
wayward character."
- Opera magazine Susanna, Early Opera Company 2003 Rachel
Nicholls enthralled [...], balancing her
loving duets with the countertenor Andrew
Radley's creamy, well-phrased Joachim.
- Opera magazine One
of the UK's most promising young singers
- Chester Chronicle, 2004 |
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