British countertenor Andrew Radley specialises in the great opera roles written for the alto castrato voice by Handel and other leading composers of the 17th and 18th Centuries. He read Music at Cambridge before receiving scholarships to the postgraduate course and the opera course at the Royal Academy of Music. He participated in an Erasmus exchange to the Paris Conservatoire studying with Pierre Mervant. He continues to study with Noelle Barker, OBE.
Operatic roles have included Gandarte in Handel Poro for the Göttingen Handel Festival (Akademie für Alte Musik Berlin/Konrad Junghänel), the title role in Handel Flavio and Joachim in Handel Susanna for the Early Opera Company/Christian Curnyn; the title role in Gluck Orfeo ed Euridice at the Spitalfields Festival; the title role in Handel Tamerlano for the Cambridge Handel Opera Group; Halimacus (cover) in Keiser Croesus for Opera North with Harry Bickett; and the title role in Handel Orlando for Opera Theatre Company Ireland.
Recent concert engagements have included Handel Saul with the Chester Bach Singers; Bach B Minor Mass at St Martin in the Fields; Handel and Scarlatti cantatas in the London Handel Festival with the RAM Period Orchestra/Laurence Cummings; Handel Dixit Dominus at Snape Maltings with Richard Egarr (broadcast on BBC Radio 3); Bach St Matthew Passion with the Britten Sinfonia; and Daniel in Handel Belshazzar for Graeme Jenkins.
Engagements this season and beyond include a production of Handel Belshazzar with René Jacobs at the Aix-en-Provence and Innsbruck Festivals and at the Berlin Staatsoper singing First Wise Man and covering the roles of Daniel and Cyrus; Orindo in Handel Admeto at the Göttingen Handel Festival with Nicholas McGegan; Refugee in Jonathan Dove Flight for British Youth Opera with Nicholas Cleobury; Didymus Theodora with Laurence Cummings at the opening concert of the 2009 London Handel Festival and in Oslo; and Nireno Giulio Cesare with the Freiburger Barockorchester under René Jacobs in Paris and Spain.
For more information please visit: www.rayfieldartists.com/andrewradley.html
|Date and venue||Title|
|Pergolesi and Bingham with Red Note and JAM|
|Many composers would be delighted to be sharing the bill with Pergolesi, particularly if the ratio of programmed pieces were 2:1 in their favour. Judith Bingham combined composing and singing careers for many years, but she now concentrates solely on composing. However, she does – as she confessed in a YouTube interview – compose unconsciously in “breath lengths”. I had not heard this confession before attending the concert but was aware of a natural feel to the music.
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|A magical classic: Bach's B minor Mass at St Martin-in-the-Fields|
|The “Bach B minor” is a classic amongst choral singers, but although parts of it are so familiar and the name is often tossed around casually, upon hearing it you are reminded why it has the status it does. Bach never heard the mass in its entirety and the movements were written years apart, explaining why there is such a huge range of style; this means we are spoilt as an audience. Although Bach probably intended the parts of the work to be performed separately as needed, the amalgamation is simply divine and results in an hour and 45 minutes of exquisite music.
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Leeds Town Hall
|Leeds Festival Chorus and the English Chamber Orchestra perform Handel's Messiah|
|Since its first performance in 1742, Handel's Messiah has become one of the world's most popular and widely performed oratorios. With a biblical libretto which tells the story of Jesus from the Nativity to the Ascension, and stunning, joyous choral parts that lend themselves equally well to small and large choirs, the Messiah has become a festive must-hear. In fact, for many lovers of classical music, Christmas just wouldn't be the same without it.
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