Andrew Radley
Photo copyright Ben Harte

past performances

audio and video

Scottish Opera on Tour, 2013

Andrew Radley’s Bertarido had compelling intensity, to which his pure, expressive countertenor added lustre: a graphic performance in the best traditions of this role.
- Andrew Clark, Opera

Andrew  Radley brings expressive lustre to the countertenor role of Bertarido.
- Andrew Clark, The Financial Times

Andrew Radley as the usurped king, Bertarido is strong.
- Kate Molleson, The Guardian

Sarah Power’s Rodelinda, sung with a glowing youthfulness…her duet with Andrew Radley as Bertarido (I Embrace You) is as moving as the heart of this opera should be.
- Rosenna East, The Herald

Conversazioni II - CD

Singularly characterful works, they are delivered with stylish aplomb by the soprano Anna Dennis and the countertenor Andrew Radley.
- Stephen Pettitt, The Sunday Times

... adoring lover, Adonis, is the splendid countertenor Andrew Radley and when he confesses that 'my human face, compared to your beauty, is like the humble atom when the sun gilds it with its rays', one can only assume that the sun was simply blazing down on his vocal chords when the recording was made. Vocally he is the perfect Adonis; adorable and poised, pure in tone but strong in delivery.
- Marc Rochester, International Record Review

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


, 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

, 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

- And
rew Clements, The Guardian

... the expressive warm-toned countertenor of Andrew Radley (Arsemene)”

- Sue Loder, Opera Today

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


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.


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

Copyright © 2011 Andrew Radley. All rights reserved.