Andrew Staples

Introduction

Andrew Staples is considered by many to be one of the most versatile British singers. A favourite for works by Handel, Mozart and Britten, he has also made his mark singing Elgar’s The Dream of Gerontius, Verdi’s Requiem and Mahler’s Das Lied von der Erde.  He sings regularly with Simon Rattle, Daniel Harding and Yannick Nézet-Séguin, and with orchestras such as the Berliner Philharmoniker, Wiener Philharmoniker, Swedish Radio Orchestra, Bayerischer Rundfunk Sinfonieorchester, Rotterdam Philharmonic Orchestra, Philadelphia Orchestra, the Accademia Nazionale di Santa Cecilia, and the London Symphony Orchestra.

In opera he is a regular guest at the Royal Opera House, Covent Garden where he has sung Tamino (Die Zauberflöte), Narraboth (Salome) and Artabenes (Arne’s Artaxerxes) and he also appears in Salzburg, Hamburg, Brussels and Prague.

His work as a director includes productions of Cosí fan tutte and La bohème in London and for the Menton Festival.  He has directed a celebrated semi-staging of Die Zauberflöte for the Lucerne Festival, conducted by Daniel Harding, and will stage the opera in the Drottningholms Slottsteater with the Swedish Radio Orchestra, again with Daniel Harding.

His new venture, Opera for Change, will take Mozart’s Die Zauberflöte on tour in Africa. The project will take an articulated lorry and several coaches containing a company of around 50 singers, musicians and crew on a route that stretches from Nairobi to Cape Town, covering 10 countries in total. The idea behind it is to bring together international musicians and performers alongside local artists and communities, to produce great shows that aim to inspire and transform lives. The project has had high praise from the Telegraph Opera Critic Rupert Christiansen and will set off later in 2013.

This is for information only and should not be reproduced. Please contact us for a full biography and for performance details.

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Repertoire

ARNE
Artaxerxes: Artabenes

BEETHOVEN
Fidelio: Jaquino

BRITTEN
A Midsummer Night’s Dream: Lysander
The Rape of Lucretia: Male Chorus

DONIZETTI
L’elisir d’Amore: Nemorino 

HANDEL
Sosarme: Haliate

HAYDN
Philemon und Baucis: Aret
L’Infidelta Delusa: Nencio

JANACEK
The Cunning Little Vixen: Schoolmaster

MOZART
Così fan tutte: Ferrando
Don Giovanni: Don Ottavio
Die Zauberflöte: Tamino
La  Finta Giardiniera: Belfiore

POULENC
Les dialogues des Carmelites: Chevalier

J.STRAUSS
Die Fledermaus: Eisenstein

R. STRAUSS
Salome: Narraboth

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Schedule

Haus für Mozart, Salzburg

MOZART: Don Giovanni

Christoph Eschenbach, conductor
Sven-Eric Bechtolf, director

Genia Kühmeier, Donna Anna
Anett Fritsch, Donna Elvira
Valentina Nafornita, Zerlina
Ildebrando D’Arcangelo, Don Giovanni
Luca Pisaroni, Leporello
Tomasz Konieczny, Il Commendatore
Andrew Staples, Don Ottavio
Alessio Arduini, Masetto

Philharmonia Chor Wien
Vienna Philharmonic

Haus für Mozart, Salzburg

MOZART: Don Giovanni

Christoph Eschenbach, conductor
Sven-Eric Bechtolf, director

Genia Kühmeier, Donna Anna
Anett Fritsch, Donna Elvira
Valentina Nafornita, Zerlina
Ildebrando D’Arcangelo, Don Giovanni
Luca Pisaroni, Leporello
Tomasz Konieczny, Il Commendatore
Andrew Staples, Don Ottavio
Alessio Arduini, Masetto

Philharmonia Chor Wien
Vienna Philharmonic

Haus für Mozart, Salzburg

MOZART: Don Giovanni

Christoph Eschenbach, conductor
Sven-Eric Bechtolf, director

Genia Kühmeier, Donna Anna
Anett Fritsch, Donna Elvira
Valentina Nafornita, Zerlina
Ildebrando D’Arcangelo, Don Giovanni
Luca Pisaroni, Leporello
Tomasz Konieczny, Il Commendatore
Andrew Staples, Don Ottavio
Alessio Arduini, Masetto

Philharmonia Chor Wien
Vienna Philharmonic

Haus für Mozart, Salzburg

MOZART: Don Giovanni

Christoph Eschenbach, conductor
Sven-Eric Bechtolf, director

Genia Kühmeier, Donna Anna
Anett Fritsch, Donna Elvira
Valentina Nafornita, Zerlina
Ildebrando D’Arcangelo, Don Giovanni
Luca Pisaroni, Leporello
Tomasz Konieczny, Il Commendatore
Andrew Staples, Don Ottavio
Alessio Arduini, Masetto

Philharmonia Chor Wien
Vienna Philharmonic

Haus für Mozart, Salzburg

MOZART: Don Giovanni

Christoph Eschenbach, conductor
Sven-Eric Bechtolf, director

Genia Kühmeier, Donna Anna
Anett Fritsch, Donna Elvira
Valentina Nafornita, Zerlina
Ildebrando D’Arcangelo, Don Giovanni
Luca Pisaroni, Leporello
Tomasz Konieczny, Il Commendatore
Andrew Staples, Don Ottavio
Alessio Arduini, Masetto

Philharmonia Chor Wien
Vienna Philharmonic

Haus für Mozart, Salzburg

MOZART: Don Giovanni

Christoph Eschenbach, conductor
Sven-Eric Bechtolf, director

Genia Kühmeier, Donna Anna
Anett Fritsch, Donna Elvira
Valentina Nafornita, Zerlina
Ildebrando D’Arcangelo, Don Giovanni
Luca Pisaroni, Leporello
Tomasz Konieczny, Il Commendatore
Andrew Staples, Don Ottavio
Alessio Arduini, Masetto

Philharmonia Chor Wien
Vienna Philharmonic

Haus für Mozart, Salzburg

MOZART: Don Giovanni

Christoph Eschenbach, conductor
Sven-Eric Bechtolf, director

Genia Kühmeier, Donna Anna
Anett Fritsch, Donna Elvira
Valentina Nafornita, Zerlina
Ildebrando D’Arcangelo, Don Giovanni
Luca Pisaroni, Leporello
Tomasz Konieczny, Il Commendatore
Andrew Staples, Don Ottavio
Alessio Arduini, Masetto

Philharmonia Chor Wien
Vienna Philharmonic

Usher Hall, Edinburgh

Jonathan MILLS: Sandakan Threnody
Leos JANACEK:  Glagolitic Mass

Hibla Gerzmava, Soprano
Claudia Huckle, Contralto
Simon O’Neill, Tenor
Andrew Staples, Tenor
Jan Martiník, Bass

Ilan Volkov, Conductor
Thomas Trotter Organ
BBC Scottish Symphony Orchestra
Edinburgh Festival Chorus

Holywell Music Room, Oxford

SCHUBERT Lieder

Christiane Karg, soprano
Andrew Staples, tenor
Joseph Middleton, piano

Unknown settings of great poets and great settings of unknown poetry are the feature of the programme, given by a dazzling trio of young stars. Christiane Karg, Andrew Staples and Joseph Middleton explore Goethe and Schiller, as well as Rochlitz, Platen, Stoll and others.

Further information here

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ARTICLES/INTERVIEWS

Director Andrew Staples talks about his radical staging of Puccini's La bohème. Click here to read interview or see the BBC Music Magazine website. (July 2011)


 

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OPERA FOR CHANGE

Andrew Staples’ new venture, Opera for Change has the aim of taking Mozart’s Die Zauberflöte on tour to Africa.

The Telegraph Opera Critic Rupert Christiansen applauds Andrew Staples' plan. "It’s currently called Opera for Change, and behind it is the idea of taking an articulated lorry and a couple of coaches containing a company of about 50 singers, musicians and crew on a 5,000-mile journey from Nairobi through the Rift Valley to Cape Town, performing a flat-pack version of Die Zauberflöte."

Andy explains that the objective is to ‘bring together international musicians and performers with local artists and communities to jointly produce incredible shows that aim to entertain, to inspire and to transform lives.’

The proposed route stretches from Nairobi to Cape Town and will cover 10 countries in total. Click here to see the route map.
“We will make perhaps 10 stops en route, playing for a week or so at each of them and linking up with charities, schools and hospitals. We want to make the opera very upbeat and full of good news, based on the idea that conquering fear is always the biggest step towards a better life. But we don’t want it to be just health propaganda: it’s got to have artistic and musical integrity, too, and I’m hoping we can find and use some great young African singers.” 
To read the full article from The Telegraph, click here

To find out more about this project visit the Opera for Change website.

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Press

First Night of the Proms - Elgar, The Kingdom: 18 July 2014

BBC Symphony Orchestra/Sir Andrew Davis/Erin Wall/Catherine Wyn-Rogers/Christopher Purves, Royal Albert Hall, London

"Valkyrie-like narrator. Andrew Staples brought a powerful, airy tenor to John, and his post-Pentecost duet with Christopher Purves's Peter, sustaining long, operatic lines even as the orchestra bubbled lava-like beneath them, was a highlight."
Erica Jeal, The Guardian, 19 July 2014
"Tenor Andrew Staples rang out with conviction as chief disciple's sidekick"
David Nice, The Arts Desk, 19 July 2014
"Davis was rewarded with scrupulously balanced support from the BBC Symphony Orchestra and the combined forces of the BBC National Chorus of Wales and BBC Symphony Chorus. The solo quartet – soprano Erin Wall, mezzo Catherine Wyn-Rogers, tenor Andrew Staples and bass-baritone Christopher Purves – was no less well blended"
Richard Fairman, Financial Times, 20th July 2014

BRITTEN

Albert Herring

Barbican Centre, London

"He may have had his funniest incarnation yet last night in young Andrew Staples' characterisation, very much at the centre alongside Steuart Bedford’s 13-piece BBC Symphony Orchestra team - of a peerless cast."
David Nice, The Arts Desk, 24 November 2013
"Andrew Staples in the title role won our approbation for his empowering act of rebellion"
Evening Standard, 25 November 2013
"A sophisticated singer with faultless comic timing"
Anna Picard, The Times, 25 November 2013
"And Albert’s offhand dismissal of her, ‘That’ll do, Mum!’, did, for once, seem shockingly brutal, and, as the libretto instructs, created in Albert a moment of doubt before he revealed to Sid and Nancy that actually he’d been partly inventing his debauchery and acting his hangover. I doubt whether any other performer of Albert has ever been able to convey that, as Andrew Staples unforgettably did. His will surely go down as a definitive account of the role, in which, from his first appearance onwards, he discovered new and exciting depths. His Act I monologue, ruminating on how he has to spend his time, punctuated with the increasingly frustrated ‘For what?’, already showed that this was no mere skit on village life, or any of the other clichés served up by the commentators. Staples searched out every nuance in this brilliantly created role — the librettist Eric Crozier provided Britten, in Herring, with much the finest text he ever had to work with in an opera — while maintaining a beautifully articulated vocal line. This is the kind of thing DVDs were invented for."


Michael tanner, The Spectator, 30 November 2013

Wagner

Tristan und Isolde: 27 July 2013

Royal Albert Hall, London

"The best singing came from Andrew Staples, doubling as Steersman and Shepherd - this strikingly confident young British tenor has come on by leaps and bounds recently. But alas, he was on the platform for only five minutes out of 230."
Rupert Christiansen, The Telegraph, 28 July 2013
"Andrew Staples, surely the most gifted and promising English tenor for at least a generation, sang Flamand with impeccable style and with ardour"
Michael Tanner, The Spectator, 27 July 2013
"Andrew Staples made an impression disproportionately strong to his too brief time on stage in a double as both the Young Sailor and the Shepherd; his clarion tenor resounded beautifully through the hall as he sang the lines to his Irish maid that inspired T.S. Eliot in The Waste Land."

John de Wald / Opera Britannia / 28 July 2013

Capriccio, in concert: 19 July 2013

Royal Opera House, Covent Garden

"Andrew Staples provided lyrical singing"

Intermezzo, 22 July 2013
"Special praise is also due to Barry Banks and Mary Plazas as the farcical Italian singers, and to Andrew Staples, a late substitute as the composer Flamand, who projected rich honeyed tone in music where Strauss finally makes amends for his long feud with tenors."

Rupert Christiansen, The Telegraph, 20 July 2013
"Andrew Staples's ecstatic Flamand"
Tim Ashley, The Guardian, 22 July 2013
"Andrew Staples sang with youthful ardour as Flamand"
Richard Fairman, Financial Times, 22 July 2013

Bach, St Matthew Passion: 28, 29, 30 March 2013

Philadelphia Orchestra/Malin Christensson/Karen Cargill/Luca Pisaroni/Andrew Foster-Williams, Verizon Hall, Philadelphia

"The singer I'd happily hear for another three hours was tenor Andrew Staples as the Evangelist. Narrative recitatives rippled from his easily produced, light tenor voice with subtle shades of meaning. When arias hit coloratura passages, the effect was not elaboration but intensification. Sometimes he sang from memory, addressing the audience with great effect. During moments of repose, he sat on the edge of the stage, seeming to brood. Every moment rang utterly true."
David Patrick Stearns, Philadelphia Enquirer, 30 March 2013