Andrew Radley is represented by Rayfield Allied Worldwide.

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Andrew Radley


  • …the Refugee, outstandingly sung by…the counter-tenor Andrew Radley. The latter’s account of his escape to the west during which his brother froze to death is a musical and emotional peak
  • Andrew Radley brings expressive lustre to the countertenor role of Bertarido.
    The Financial Times
  • 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
    Allgemeine Zeitung
  • …there was impressive singing from the countertenor Andrew Radley…
    The Times
  • 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.

    Notable engagements include Refugee in Jonathan Dove’s Flight conducted by Nicholas Cleobury, Orindo in Handel’s Admeto at the Göttingen Handel Festival and the Edinburgh Festival conducted by Nicholas McGegan, Didymus Theodora with Laurence Cummings at the London Handel Festival and in Oslo, Medoro Orlando with Christian Curnyn at the Buxton Festival and for Scottish Opera with Paul Goodwin, Nireno in Tim Albery’s new production of Giulio Cesare for Opera North, and his debuts at the Royal Danish Opera and Welsh National Opera singing Hamor in Katie Mitchell’s production of Handel’s Jephtha

    Recent and future engagements include Bertarido Rodelinda for Scottish Opera, his Danish National Opera debut singing the title role in the world premiere of Dorian Gray by Thomas Agerfeldt Olesen, Secrecy The Fairy Queen for Nationale Reisopera, Adelberto Ottone for English Touring Opera, Athamus Semele for the London Handel Festival under Laurence Cummings, and Poul Ruders The City in the Sea with the Esbjerg Ensemble as part of the Esbjerg International Contemporary Music Festival. Andrew’s first solo CD Conversazioni has recently been released on Avie Records to great critical acclaim. 

    • Handel Ottone (Adelberto), English Touring Opera
      Hackney Empire, London and on tour (October 2014)

      Fine countertenor…Andrew Radley as menacing Adelberto.
      Hilary Finch, The Times
      Andrew Radley is the attractive, if lethal Adelberto.
      Tim Ashley, The Guardian
      Andrew Radley provides contrast with his supple, stylish singing.
      Barry Millington, Evening Standard
      Andrew Radley…often sounded sly and calculating, with a smoothly lustrous countertenor voice.
      Curtis Rogers,
      Andrew Radley gave a highly sympathetic account of Adelberto’s music.
      Robert Hugill,
    • Conversazioni II (Alessandro Scarlatti et al.), Sounds Baroque / Julian Perkins
      Avie AV2296 (March 2014)

      Singularly characterful works, they are delivered with stylish aplomb by the soprano Anna Dennis and the countertenor Andrew Radley.
      Stephen Pettitt, The Sunday Times
      Her 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
    • Handel Rodelinda (Bertarido), Scottish Opera on Tour
      The Beacon, Greenock (September 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
    • Handel Messiah, English Chamber Orchestra, Leeds Town Hall
      (December 2011)

      The outstanding performance of the evening…was delivered by countertenor Andrew Radley. 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
      Laura Kate Wilson, Bachtrack
    • Conversazioni I (Cantatas by Handel, Caldara, Albinoni, Allesandro and Domenico Scarlatti)
      Sounds Baroque/Julian Perkins, CD Avie AV 2197 (September 2011)

      There’s a seductive tonal warmth to [Radley’s] voice. The countertenor does let loose the cutting edge necessary to project the dramatic angst of Handel’s Mi palpita il cor. He also interacts as a fully engaged chamber musician with Sounds Baroque [...] 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
      Radley’s warm, nimble countertenor invariably crafts a shapely vocal line
      Paul Riley, BBC Music Magazine
      Andrew Radley demonstrates tender story-telling skills during the soft ‘Camminando lei pian piano’…In gentle arias Radley’s singing has affectionate intimacy and delicacy…I look forward to Volume 2.
      David Vickers, Gramophone
      Countertenor Andrew Radley is both swoonsome and stately
      Andy Gill, The Independent
      Counter-tenor Andrew Radley, for whom this is also a first recording, is superb. While the cantatas on this disc tend to wallow in love-sickness, Radley finds a myriad of different colours and vocal moods, playing swooning and discarded as well as he does springing and agitated.
      Adrian Horsewood, Early Music Today
    • Medoro (Orlando), Scottish Opera, Theatre Royal Glasgow
      February 2011

      [the] new 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 (Orlando and Medoro).
      Michael Tumelty, Herald Scotland
      a thing of real beauty, [Angelica’s] natural vulnerability worked particularly well in duets with Andrew Radley, playing Medoro
      Carla Whalen, The Scotsman
      undeniably gifted Radley
      Derval Tannam, The Journal
      Radley sings with fervour
      Catriona Graham, The Opera Critic
    • Xerxes, Iford Arts,
      (July 2010)

      Andrew Radley is (…) impressive as the king’s brother Arsemene.
      Andrew Clements, The Guardian
      the expressive warm-toned countertenor of Andrew Radley (Arsemene)
      Sue Loder, Opera Today
      Andrew Radley brought real passion to the role of Arsamene.
      Ashutosh Khandekar, Opera Now
    • Messiah, Bachchor Mainz
      (December 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
    • Cupid (Venus and Adonis), Transition Opera/Christian Curnyn
      (February 2009)

      …there was impressive singing from the countertenor Andrew Radley…
      The Times, Richard Morrison
      …a quirky Cupid... Andrew Radley’s Cupid was lively and enjoyable throughout, with a strong vocal performance that carried well…
  • Andrew Radley’s Opera Repertoire

    • A Midsummer Night’s Dream (Oberon)
    • La Calisto (Endimione)
    • Lucrezia Borgia (Orsini)
    • Flight (Refugee
    • Admeto (title role)
    • Agrippina (Ottone)
    • Alcina (Ruggiero)
    • Belshazzar (Daniel and Cyrus)
    • Flavio (Guido, Flavio)
    • Giulio Cesare (title role, Tolomeo, Nireno)
    • Jephtha (Hamor)
    • Orlando (title role, Medoro)
    • Poro (Gandarte)
    • Radamisto (title role)
    • Rinaldo (title role)
    • Rodelinda (Bertarido)
    • Susanna(Joachim)
    • Tamerlano (Andronico, Tamerlano)
    • Tolomeo (title role)
    • Orfeo ed Euridice (Orfeo)
    • Croesus (Halimacus
    • Mitridate, Re di Ponto (Farnace)
    • Ascanio in Alba (Ascanio)
    • Tancredi (Tancredi)
    • La Donna del Lago (Malcolm)
    • La Gazza Ladra
    • Semiramide (Arsace)

    Andrew Radley’s Concert Repertoire

    • B Minor Mass
    • G Minor Lutheran Mass
    • F Major Lutheran Mass
    • St Matthew Passion
    • St John Passion
    • Christmas Oratorio
    • Easter Oratorio
    • Magnificat
    • Cantata BWV 8 Liebster Gott, wann werd ich sterben
    • Cantata BWV 9 Es ist das Heil uns kommen her
    • Cantata BWV 12 Weinen, Klagen, Sorgen, Zagen
    • Cantata BWV 76 Die Himmel erzählen die Ehre Gottes
    • Cantata BWV 120 Gott, man lobet dich in der Stille
    • Cantata BWV 146 Wir müssen durch viel Trübsal
    • Cantata BWV 161 Komm, du süße Todesstunde
    • Cantata BWV 170 Vergnügte Ruh
    • Cantata a 3 dalla notte di Natale
    • Athalia (Joad)
    • Belshazzar (Daniel and Cyrus)
    • Dixit Dominus
    • The Choice of Hercules (Hercules)
    • Israel in Egypt
    • Jephtha (Hamor)
    • Poro (Gandarte)
    • Samson (Micah)
    • Solomon (Solomon)
    • Susanna (Joachim)
    • Theodora (Didymus)
    • Il Trionfo del Tempo e Disinganno (Disinganno)
    • Orfeo & Euridice
    • Mass in the time of war
    • Nelson Mass
    • Carmina Burana
    • Vespers of the BVM
    • Stabat Mater
    • Mass in A Flat
    • Gloria
    • Magnificat
    • Nisi Dominus
    • Stabat Mater
  • Photos

    • photographer credit: Simon White
      photographer credit: Simon White
    • photographer credit: Benjamin Harte
      photographer credit: Benjamin Harte