Alan Andrews, bass


Alan Andrews has performed over 40 different roles in opera, musicals, dramas, and comedies.  He has portrayed such diverse characters:  sheriff, assassin, doctor, snake-oil salesman, magician, fop, lackey, god, devil, priest, philosopher, fly, bell-hop, scotsman (sans kilt), soldier, elephant, and a couple of times, even the guy who gets the girl.


Some of Alan’s principal roles include the title roles in Mozart’s The Marriage of Figaro and Boito’s Mefistofele, Don Bartolo in The Barber of Seville, Don Magnifico in La Cenerentola, (not Don) Leporello in Don Giovanni, the villains in The Tales of Hoffmann, Banco in MacBeth, Ferrando in Il Trovatore.  He was named “Best Opera Singer in the Hudson Valley” in 2010 and 2012 by the RecordOnline


Alan’s has sung as a bass soloist in Handel’s Messiah, and Israel in Egypt, Haydn’s Lord Nelson Mass, and Pauken Messe, and numerous Bach oratorios and cantatas.  He is currently the bass soloist at the First Presbyterian Church of Monroe, New York.


In the summer of 2011, Alan performed the role of “Alan” in the King’s Theatre Company’s production of The Complete Works of William Shakespeare (Abridged), which was selected as the Hudson Valley’s “Best Comedy” by the recordonline.


Alan’s previous roles with HOTOpera include Achilla in Giulio Cesare, and Jupiter in Orpheus in the Underworld.  Alan developed the only known Esperanto/Finnish accent when creating the role of intrepid explorer Pontefex Tonedef in The Search for the Hudson River Monster, with the Air Pirates Radio Theater.  His professional debut was with the Dallas Opera as Ulysses Grant in The Mother of Us All, directed by Charles Nelson Reilly.  He has also appeared in productions directed by John Houseman, Harold Prince, Carlo Maestrini, and of course, Ron De Fesi.  Alan Andrews holds a degree in Church Music from Baylor University (possibly somewhere on his person), enjoys long, moonlit walks by an onion farm, and has cried every time he has visited the Alamo.




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