Andrew Staples


Andrew Staples sang as a chorister in St Paul’s Cathedral before winning a Choral Scholarship to King’s College Cambridge, where he gained a degree in Music.  Andrew was the first recipient of the RCM Peter Pears Scholarship, sponsored by the Britten Pears Foundation, at the Royal College of Music and subsequently joined the Benjamin Britten International Opera School.  He studies with Ryland Davies.

His concert engagements include Schumann’s Das Paradies und die Peri with both the Berlin Philharmonic Orchestra and Sir Simon Rattle and the Swedish Radio with Daniel Harding; Mahler’s Das Lied von der Erde with the Akademisten Berlin and Sir Simon Rattle and Magdalena Kozena; John Tavener’s The Veil of the Temple in New York; Britten’s Serenade for Tenor, Horn and Strings with the Swedish Chamber Orchestra conducted by Andrew Manze; Britten’s War Requiem at the King’s College Chapel  with David Hill;  Mozart’s Requiem with the Scottish Chamber Orchestra, and Andrew Manze; the Gävle Symphony and Robin Ticciati; the Orchestra of the Age of Enlightenment and Sir Simon Rattle; the London Symphony Orchestra and Daniel Harding; the Bavarian Radio Symphony with Daniel Harding and Simon Rattle; the Rotterdam Philharmonic Orchestra and Yannick Nézet-Séguin; and the Accademia Santa Cecilia with Semyon Bychkov.

He made his Royal Opera House debut as Jacquino (Fidelio), returning for Flamand (Capriccio), Tamino (Die Zauberflöte), Artabenes (Arne’s Artaxerxes) and Narraboth (Salome). He sang Belfiore (La Finta Giardiniera) for the National Theatre, Prague (a role he repeated in the same production for La Monnaie in Brussels), Ferrando for Opera Holland Park, and Narraboth for the Hamburgische Staatsoper.  He also semi-staged and sang Tamino in Die Zauberflöte for the Lucerne Festival and in Drottningholm with Daniel Harding conducting.

He will sing Kudrjas and Luzio (Das Liebesverbot) for both the Royal Opera House and the Teatro Real in Madrid, Don Ottavio for the Salzburger Festspiele, and Tamino in Chicago. In concert he appears with the Swedish Radio Orchestra, the Bavarian Radio Symphony and the Berliner Philharmoniker with Daniel Harding, the BBC Symphony Orchestra and Semyon Bychkov, the London Symphony Orchestra and the Wiener Philharmoniker with Simon Rattle, and the Philadelphia Orchestra with Yannick Nézet-Séguin.

His recent venture, Opera for Change, has taken Mozart’s Die Zauberflöte on tour in Africa. A company of around 50 singers, musicians and crew travel 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.

Please contact Mary Donald for an updated biography and for performance details.

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News & Features


Artaxerxes: Artabenes

Fidelio: Jaquino

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

L’elisir d’Amore: Nemorino 

Sosarme: Haliate

Philemon und Baucis: Aret
L’Infidelta Delusa: Nencio

The Cunning Little Vixen: Schoolmaster

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

Les dialogues des Carmelites: Chevalier

Die Fledermaus: Eisenstein

Salome: Narraboth

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Media Player


  • Schumann: Das Paradies und die Peri



Pittville Pump Room, Cheltenham


Britten The Holy Sonnets of John Donne
Messiaen Quartet for the End of Time


Usher Hall, Edinburgh

STRAVINSKY: The Rake's Progress

Emily Birsan, Anne Trulove
Andrew Staples, Tom Rakewell
Gidon Saks, Nick Shadow
Elizabeth DeShong, Baba the Turk
Catherine Wyn-Rogers, Mother Goose
Peter Rose, Trulove
Alan Oke, Sellem
Ashley Riches, Keeper of the madhouse

Sir Andrew Davis, Conductor
Scottish Chamber Orchestra

Further information here

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The Damnation of Faust

Melbourne Symphony Orchestra/Renata Pokupić, Bryn Terfel, Andrew Staples, Shane Lowrencev, Sir Andrew Davis, Hamer Hall, Melbourne

"While Bryn Terfel is the big name drawcard to this event, English tenor Andrew Staples proves an absolute revelation as Faust. Staples lovingly caresses the French lyrics, demonstrating wonderful phrasing and diction along the way. His tireless tenor has a sweet purity that is an absolute pleasure to hear. The strength of his sound comes from faultless support of breath, completely avoiding any tendency of the kind of high volume that verges toward shouting. In the absence of a director for the concert, Staples still manages a good amount of interaction with his colleagues so as to enhance the storytelling. His rendition of “Invocation to nature” is a highlight of the evening."
Simon Parris, Main in Chair, 21 March 2015
"Tenor Andrew Staples brings a yearning almost melancholy tone as Faust, with a necessary measure of human frailty — of strain and struggle — to contrast Terfel’s monstrous facility. He rises to those top notes, say in his “Air de Faust”, only to fall once more into ennui. This is an essential quality in Berlioz’s Faust. It points to the true heartrending significance of that awful breath which stops the tenor’s high C sharp in his love duet with Marguerite. Faust can never fly so high or so far as the saints."
Andrew Fuhrmann, Daily Review, 23 March 2015


A Flowering Tree

Opera Omaha

"Tenor Andrew Staples gave a nuanced performance as the prince who went through his own transformation. Staples’ clear, rich voice was beautifully balanced throughout the evening, and whether in lust, mourning or love, he had undeniable chemistry with Chuchman."
Kim Carpenter, Omaha World-Herald, 14 February 2015

Jonathan Mills

Sandakan Threnody: 30 August 2014

Usher Hall, Edinburgh

"The voice of tenor Andrew Staples was also raised high above the crowd, first with a dark and desperate chant, and then a sublime but desperate longing for Sleep, both of which he delivered with his fluid musicality and drama." The Herald, Rosenna East, 1 September 2014
" the lyrical last movement, a homage to Britten in a beautifully poised tenor line, exquisitely sung by Andrew Staples" The Arts Desk, Christopher Lambton, 31 August 2014

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


SALOME: 8 May 2014

Verizon Hall, Philadelphia / Yannick Nézet-Séguin

"British tenor Andrew Staples offered an uncommonly good Narraboth, his voice clear and the text well projected." Opera News, David Shengold


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


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



SCHUMANN Szenen aus Goethes Faust

Chor und Symphonieorchester des Bayerischen Rundfunks
Daniel Harding
Christian Gerhaher, Christiane Carg, Alastair Miles, Mari Eriksmoen, Bernarda Fink, Andrew Staples, Kurt Rydl, Tareq Nazmi
14 October 2014
BR Klassik