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"(The soloists) were led by Andrew Greenan's commanding Gurnemanz, who quickly brought focus to Act 1 in a beautifully measured and tireless account of his monologue and had the resources and imagination for all the rapture of Act 3. Greenan was impressive enough as Saffron Opera's Sachs and Wotan, and his Gurnemanz was on even higher form."Gurnemanz, Parsifal - Saffron Opera Group 2018 - Peter Reed, Opera Magazine
“This opera calls for a group of exceptional baritone and bass voices, and this cast really delivered. Andrew Greenan was suitably authoritative as Gurnemanz, with plenty of power and stamina for the role, and also the variety of tone and delivery to maintain interest across the long monologues.”Gurnemanz, Parsifal - Saffron Opera Group 2018 - Gavin Dixon, The Arts Desk
“Andrew Greenan has great fun as the Baron, with a wicked past and in the present compelled to marry Agnes against her will because of a prophecy relating to the ghost of the Prioress. It is all terrifically mad stuff, but Greenan sings with a lovely swagger and a nice musicality, not a hint of bluster here.”Recording of Raymond and Agnes – Royal Ballet Sinfonia/Richard Bonynge 2017 - Robert Hugill, planethugill.com
“As the haunted Baron – key to the opera's individuality – the sepulchral bass Andrew Greenan...his vivid sense of character and commanding presence.”Recording of Raymond and Agnes – Royal Ballet Sinfonia/Richard Bonynge 2017 - Christopher Webber, Opera Magazine
“The Borough’s long list of entertaining characters was perfectly drawn, Andrew Greenan’s Swallow, gruff in the courtroom, was horribly smarmy around Scandinavians Hanna Husáhr and Vibeke Kristensen’s brightly sung wayward Nieces.”Swallow, Peter Grimes, BERGEN PO/EDINBURGH FESTIVAL 2017 - David Smythe, Bachtrack
“And as ever when hearing Wagner in the concert hall, there were things to discover and to delight in, as well as those moments when the whole performance seemed to transcend itself, and the lack of any theatrical setting ceased to matter. Here, the most spellbinding of those moments came at the beginning of the third act, with the confrontation between Hilary Summers’ regal Erda and Greenan’s Wanderer – an irresistible moral force meeting an immovable object.”Der Wanderer, Siegfried - Saffron Opera Group - 2017 Andrew Clements, The Guardian,
The Anglo-French bass-baritone, Andrew Greenan has sung for many of the world’s great opera houses, including the Metropolitan Opera, New York (Heinrich Lohengrin with Augin), Royal Opera House, Covent Garden (with Solti, Haitink, von Dohnányi, Bychkov, Mackerras and Hickox), Hamburg (Peter Grimes), Paris – Châtelet (Arabella), Bordeaux (Rocco Fidelio and Arnolphe Die Schule der Frauen), La Monnaie, Lyon, Geneva (Kothner Meistersinger, Klingsor Parsifal), Netherlands Opera (Der Schatzgräber, also CD) San Diego (Biterolf Tannhäuser, Cecil Maria Stuarda and Ochs Der Rosenkavalier), Pittsburgh (Salome) Cape Town (Ochs), Oviedo (Marke Tristan und Isolde), Nancy (Daland, Doktor Wozzeck, Landgraf Tannhäuser, Ochs, Vodnik Rusalka, Rocco), San Francisco (Meistersinger) Seattle (Parsifal), Turin (Bottom), New Israeli Opera (Samson et Dalila), Wiener Volksoper (Sarastro), Glyndebourne (Arkel Pelléas et Melisande), Longborough (Alberich Das Rheingold), Prague National Theatre (Falstaff) and Opéra Comique, Paris (Albert Herring)
Andrew was a Choral Scholar at St John’s College, Cambridge, where he read Modern Languages. He then studied with John Cameron at the Royal Northern College of Music and, whilst there, made his operatic debut in Schoenberg’s Die Glückliche Hand at La Scala, Milan.
He began his career as a Company Principal at English National Opera, where his many roles, then and since, have included Timur Turandot, Monterone/Sparafucile, Sarastro, Hermit Der Freischütz, Gremin, Zaccaria Nabucco, Titurel Parsifal.
His comprehensive concert repertoire ranges from Bach to Tippett and beyond. Highlights include Messiah (Huddersfield Choral) St Matthew Passion (RLPO), Mozart Requiem (Royal Festival Hall), Verdi Requiem (RTE Dublin), Creation (Singapore SO), Dream of Gerontius, Belshazzar’s Feast and Elijah, all at Liverpool Philharmonic Hall, and Mahler 8th Symphony at Bridgewater Hall, as well as Beethoven’s 9th Symphony with NYO under Vasily Petrenko. Among others, he has also appeared with Runnicles, Rizzi, Slatkin, Nelsons, de Waart, Rustioni, Karabits, Metzmacher and Soltesz.
Andrew has recorded The Nightingale, The Flood and Oedipus Rex in Robert Craft’s Stravinsky cycle with the Philharmonia, Parsifal with the Hallé and Sir Mark Elder, and Sir Colin Davis’ Grammy winning Les Troyens (LSO).
Work in contemporary music has seen him in James MacMillan’s Since it was the Day of Preparation….with the Hebrides Ensemble at the Amsterdam Muziekgebouw and in the world première of Ed Jones’ Arctic Elegy conducted by the composer.
Andrew’s recent engagements and future plans include Hans Sachs Die Meistersinger, Wotan Die Walküre, Der Wanderer Siegfried and Gurnemanz Parsifal for Saffron Opera Group (UK), Verdi Requiem in the Chapel of King’s College Cambridge, Messiah with the CBSO, Brahms Requiem in Périgueux Cathedral, Commendatore Don Giovanni for Angers/Nantes Opera, Salome in Tel Aviv, Bluebeard’s Castle with Royal Orchestral Society, Swallow Peter Grimes with Bergen Philharmonic under Edward Gardner at both the Bergen and Edinburgh International Festivals, and, most recently, at the Palau de les Arts Reina Sofía Valencia. He was also seen as Ghost of Old Hamlet/Gravedigger/Player King in the inaugural production of Brett Dean’s Hamlet at Glyndebourne and sings the central rôle of the Baron of Lindenberg in the acclaimed new recording of Raymond and Agnes by Edward J Loder conducted by Richard Bonynge.
For Oratorio and Concert repertoire please scroll down:
|Oratorio and concert rep|
|Mass in B Minor|
|St John Passion|
|St Matthew Passion|
|Mass in C|
|Mass in D (Missa Solemnis)|
|Symphony No 9|
|Berlioz||L’enfance du Christ|
|Dvorak||Mass in D|
|Elgar||Dream of Gerontius|
|The Apostles preferred role Judas|
|Handel||Acis and Galatea|
|Mahler||Symphony No 8|
|Puccini||Messa di Gloria|
|Purcell||Come ye Sons of Art|
|Hail, Bright Cecilia|
|Rossini||Petite Messe Solenelle|
|Schubert||Masses in Eb, Ab & G|
|Stanford||Songs of the Sea|
|Tippett||Child of Our Time|
|Vaughan Williams||Dona Nobis Pacem|
|Five Mystical Songs|
|Mass in G minor|