Among soprano Andrea Matthews’ operatic roles are Gilda in Rigoletto, Euridice in Gluck’s Orfeo ed Euridice, Susanna in Marriage of Figaro, Marie in Bartered Bride, Gretel in Hansel and Gretel, Nannetta in Falstaff, Musetta in La Bohème, and Violetta in La Traviata, which she performed during her two-year engagement with the Aachen Opera in Germany, as well as on tour in Spain, Portugal, and Paris, France. She has appeared in recent seasons with the Boston Academy of Music in their productions of Arabella, Vanessa, and Il Trittico. Of her performance as Erika in Vanessa, Susan Larson of The Boston Globe noted: “Matthews wrung agony from her soul…she is a generous singer, honest down to her bones.” She reprised her role for a much-praised recording of Vanessa on Naxos. Of her recent performance with Richard Conrad’s The Bostonians in Debussy’s Pelléas et Mélisande (soon to be released on the Arsis label), Richard Dyer wrote in the Globe: “As the elusive Mélisande, Andrea Matthews bound her expressive delivery of the words into exquisitely colored musical phrases, carried on a seamless legato.”
In concert works ranging from Bach and Mozart to Mahler, Stravinsky, and Górecki, she has appeared with the Philadelphia Orchestra, the Atlanta and Houston Symphonies, and the Buffalo Philharmonic, among others too numerous to list. She can be heard on Newport Classic, PolyGram, Vox Cum Laude, Premier, and Naxos CDs.
Recent engagements have included Beethoven’s 9th Symphony at Jordan Hall in Boston, and Missa Solemnis in Las Cruces, NM; Handel’s Messiah with the New Jersey Philharmonic Orchestra, Mozart’s Requiem and Exsultate, jubilate with the Winter Park Bach Festival (FL); and Orff’s Carmina Burana with the Jacksonville Symphony (FL), which was recently released on the orchestra’s first-ever CD (available through the Symphony).
A certified teacher of the Alexander Technique, Ms. Matthews is also a member of the voice faculty at Wellesley College. For more information, please visit www.andreamatthews.com