I'm currently based in the Boston MA area, and specialize as a freelance orchestral & choral soloist. As you'll see, however, I have extensive experience in opera and recitals as well. I teach voice and Alexander Technique privately in Needham, and I'm also available for Alexander Technique workshops and voice masterclasses. I hope you find your visit to my website enjoyable and informative.

To contact me, please email me at andrea@andreamatthews.com
(not a live link--please paste the address into the address line of your email)

Selected Reviews:

Richard Dyer, Boston Globe

As the elusive Mélisande, Andrea Matthews bound her expressive delivery of the words into exquisitely colored musical phrases carried on a seamless legato.

Lloyd Schwartz, Boston Phoenix:

Another star was soprano Andrea Matthews, who sang Puccini’s ‘O mio babbino caro’ so bewitchingly in the Boston Academy of Music’s memorable
Gianni Schicchi…her love scenes with Pelléas, Golaud’s younger half-brother, were rapturous, and her death scene in childbirth was moving in its restraint and resignation. Throughout, she sang ravishingly, her exquisite quicksilver voice catching and shaping the contours of Debussy’s always surprising phrases.

Susan Larson, Boston Globe:

In the pivotal role of Erika [in Boston Academy of Music's production of Barber's Vanessa] ...Andrea Matthews wrung agony from her soul, renouncing illusion even as Vanessa embraces it...she is a generous singer, honest down to her bones.

Richard Dyer, Boston Globe:

Andrea Matthews proved a real find as Zdenka [in Arabella]...the right silvery gleam in her voice, a lovely musicality, and an exceptionally appealing and unaffected manner onstage,... thoroughly at home in the language and musical world of the piece.  

Best of Boston (year-end review): [Boston Academy of Music’s
Arabella] introduced a delightful new soprano as Zdenka, Andrea Matthews, who sustained the captivating impression of her debut in a Poulenc concert with the Masterworks Chorale. 

Susan Larson, Boston Globe:

When soprano soloist Andrea Matthews rose up to sing it was evident from the radiant quietude and focus of her face and body that marvels were about to happen.
From that stillness emerged a glamorous and perfectly poised sound, lingering on a celestial spun high note and arching down in to a rich womanly sound.  Matthews pasted no false drama on Poulenc’s sinuous vocal lines; her singing was simple, innocent, and deeply felt.
     Lyric sopranos with floaty high notes we have with us always, but Matthews has operatic power in reserve; her all-out singing shocked and thrilled with its gleaming saber thrusts. The final phrases, for soloist and chorus yearning for paradise, were lit with golden, heavenly light. (Masterworks Chorale, Poulenc Stabat Mater and Gloria) 

Susan Larson, Boston Globe:

The stunningly gifted performer caught Boston’s attention last year as an opera and concert artist of the first magnitude; her recital was not to be missed.
     Her program choices were audacious — one dazzling soprano showpiece followed another, no little Lieder or wan chansons for her, just the hard stuff and plenty of it.  Matthews let loose her full-bodied sunny sound in Mozart’s Exsultate, jubilate, her face beaming with joy...
     The singing enchanted us...Matthews knows what the words mean (sometimes I think Mozart didn’t), and colored them with fervor...
     Matthews was a perfectly radiant Shepherd in the final allegro [of Der Hirt auf dem Felsen.]
     The real bombshell performance came in Musetta’s waltz from Puccini’s La Bohème.  Matthews turned herself into a leering hoyden obviously up to no good; as she relaxed into her characterization, her voice flowed flashing with color and personality.  Matthews can act as well as sing, and when she combines the two she can do whatever she wants with you.  

T.J. Medrek, Boston Herald:

[As Lauretta in Gianni Schicchi] Andrea Matthews sang the evening’s most famous aria, “O mio babbino caro,” with sweetness and charm.

Aachener Nachrichten, Aachen, Germany:

A pleasant surprise was offered by the soprano (new to this country) Andrea Matthews as Medea’s rival Creusa [in Mayr’s Medea in Corinto in concert with the Aachen Orchestra]: a flexible, radiantly bright, effortlessly expressive and technically excellently produced soprano, that one would gladly encounter again in a Mozart role. 

[In Bach’s Christmas Oratorio with the Aachen Orchestra] Out of the circle of collectively good soloists shone Andrea Matthews with bright voice and natural diction. 

[In Rheinberger’s Stern von Bethlehem]: A flawless Andrea Matthews with shining vocal splendor and effortless musicality… 

[In Mendelssohn’s Elijah]: Andrea Matthews poured forth her wonted bewitching lyric warmth. 

Andrea Matthews is growing into a vocally sovereign Violetta [in La Traviata with the Aachen Opera] of fascinating radiance. She provides the most technically elegant and cultivated vocal material of the premiere crew, performs into the closing bars unfatigued, and knows how to match her soprano seamlessly and effortlessly to the multifarious requirements of the demanding role. Combined with a constantly growing dramatic versatility, she above all maintains the high musical reputation of the Aachen production. 

The Euridice [in Aachen Opera’s Orfeo ed Euridice (Gluck)] found in Andrea Matthews (also successful as “Traviata”) a vocal fulfillment of lyrical warmth and radiant strength. 

[As Marie in Smetana’s Bartered Bride]: Andrea Matthews as the intended victim of the bad deal continues her series of successes since the marvelous Traviata and is persuasive with the vocally most well-rounded achievement of the evening. In an ideal way, that reserve of nuances stands at her command for the presentation of this multifaceted character, who after all must not only suffer as an innocent victim, but must also actively and no less perniciously twist the even weaker Wenzel around her finger. 

[As Ilia in Mozart’s Idomeneo]: …Andrea Matthews fascinated once again with the most flawless performance of the evening. With featherlight effortlessness, she embodied the role of the Trojan princess Ilia with the loveliness of an ideally cast Pamina. The technically thoroughly healthily produced voice bewitches in all registers with a lyric warmth of the most exquisite purity. Her Traviata belonged already among the superb achievements of recent years; she stands also as a Mozart singer without doubt at the beginning of a great career.


Aachener Volkszeitung, Aachen, Germany:

Headline: One of the few glimpses of light—Andrea Matthews as Marie [in Bartered Bride]: The sad cloister-dress in which she must run around does not diminish the impression of her beautiful, strongly expressive singing. A moving and vocally always firm-in-the-saddle Marie offering fine lyricism in equal measure with radiant soprano tones. 

Andrea Matthews gave to Ilia [in Mozart’s Idomeneo] not only a glowing soprano brilliance, but above all a moving humanity and warmth.


Stuttgarter Zeitung, Stuttgart, Germany:

[In Mahler’s Second Symphony with the Stuttgart Philharmonic] As the sound of the violins ebbed, Andrea Matthews’ voice floated above the majestically singing choir.


Schwäbische Zeitung, Friedrichshafen, Germany:

[In Mahler’s Second Symphony with the Stuttgart Philharmonic] the American soprano Andrea Matthews radiated silvery sound over the choir.

Gramophone Magazine:

Andrea Matthews as Irene’s companion, Fidalma [in Newport Classic Premier CD of Handel’s Muzio], gives a sprightly account of her one aria “Non ti fidar” with its engaging and characteristically Handelian cross-rhythms. Her voice has quite a pleasant-sounding edge to it and she has a good ear for tuning. The orchestra gives her admirably responsive support in this number, making it one of the most successful in the recording. 

Andrea Matthews is quite a passionate Laodice [in Newport Classic’s CD of Handel’s Siroe]—her “L’aura non sempre spira” (Act 2) comes off splendidly, as does the brilliant “Torrente cresciuto” (Act 3).


Fanfare Magazine:

[In Newport Classic’s CD of Handel’s Tolomeo,] Andrea Matthews is just as flexible, and her sweet tone can bite when needed.

Opera News:

[In Piedmont Opera Theatre’s Rigoletto (Verdi), Winston-Salem, NC]  Andrea Matthews made a brilliant Gilda, even when singing “Caro nome” on her back.


The New York Times:

[In Fauré’s Requiem] soprano Andrea Matthews…made a really lovely thing of the “Pie Jesu”—an arresting timbre, with the lines phrased with heartfelt expressivity.

 [In the Oratorio Society of New York’s Orfeo ed Euridice (Gluck) with Dame Janet Baker] Andrea Matthews brought just the right blend of brightness and loving warmth to Amor.


The Philadelphia Inquirer:

[In Mostly Mozart’s Apollo et Hyacinthus (Mozart)] Of the soloists, soprano Andrea Matthews, who sang Hyacinth, managed the most graceful and compelling variations [in her da capo aria…and] brought much of the [desired] characterization to her singing. 

The [Choral Arts Society of Philadelphia] sang the text [of Poulenc’s Stabat Mater] with admirable clarity…and soprano Andrea Matthews sang the solo sections with the same regard for the text and a sense of the power of this text.


The Houston Chronicle, TX:

Two of the [Houston Symphony’s Messiah] soloists were exceptional: soprano Andrea Matthews had the tonal purity and simplicity perfect for this music.

The Houston Post, TX:

[In Houston Symphony’s Messiah] That left soprano Andrea Matthews as the hands-down winner among these Handelian soloists. Her singing was pure, sincere, easy-flowing, tonally strong and secure throughout the evening. All these fine attributes were gathered together in her gorgeous performance of “I know that my Redeemer liveth.”


The Beacon Journal, Canton, OH:

[In Canton Symphony Orchestra’s Carmina Burana (Orff)] Clear, but with faintly sultry depths, the voice of soprano Andrea Matthews has a lovely quality.

The Sunday Gazette, Troy, NY:

In the first half of the [all-Haydn] concert [with the St. Cecilia Orchestra] Matthews sang…“Vanni…fuggi…traditore!” and “Barbaro conte… Dell’amor mio fedele.” She opened the second half with the solo cantata “Berenice, che fai?”

      Matthews’ voice has a lovely, velvet-like quality throughout its range and she sings with accuracy, conviction and apparent ease. Never is there even a hint of shrillness on top.

     She sang with conviction and control in the two arias and she was especially brilliant in the short little cadenza passages which occur in the cantata.


Syracuse Herald-Journal, NY:

Also remarkable [in Haydn’s Creation] was Matthews, whose captivating voice made for a thoroughly delightful evening. Her extended aria (No. 8) was touching—delicately phrased, with tasteful melodic embellishments, and a chilling diminuendo. Equally lovely was her aria (No. 15), where she imitates the call of the doves with charming vocal trills.


The Richmond Times-Dispatch, VA:

[Virginia Opera’s Marriage of Figaro (Mozart)] For several thousand Virginians, Andrea Matthews is likely to be the standard by which other Susannas will be judged for years to come. She fairly percolated through the evening, singing with utmost delicacy despite the energy drain of her character and serving as dramatic and tonal fulcrum of most every group number.

Salt Lake City Tribune, UT:

[In the Utah Symphony’s Mahler Symphony No. 2] soprano Andrea Matthews was dressed in a stunning emerald-green gown—and her crystal-clear voice matched the fabric’s shimmering sequins.

The Virginian-Pilot, Norfolk, VA:

The revelation of the evening was Andrea Matthews, who played Susanna [in Virginia Opera’s Marriage of Figaro]. Hers is a voice made for Mozart, and her portrayal of the spunky maid who outwits her master’s advances was a delight….the task at hand called for her to spin yard upon yard of seamless Mozart. Indeed, Matthews was onstage constantly for almost four hours. In the first three acts of the opera, she tested her mettle in fast-paced musical filigree and treacherous ensemble work, but Act IV revealed that Matthews could also deliver a slow, sustained melodic line with the best.


The Tulsa World, OK:

Andrea Matthews brought a crystalline, angelic delicacy to her performances [in Handel’s Messiah with the Tulsa Philharmonic].


 Albuquerque Journal, NM:

…the most famous movement of [Mahler’s Fourth Symphony] is the last, wherein Matthews’ richly toned voice soared beautifully…The listener concentrates only on Matthews’ lush yet disciplined sound. Singer and orchestra breathed such life into this movement—which is as delicate as a field flower—that at the end, the entire hall held its breath


The Post-Standard, Syracuse, NY:

[In Orff’s Carmina Burana] Matthews was absolutely stunning in each of her numbers, singing with a velvety timbre that was a thorough delight to hear. She executed the dotted rhythms of song 15 crisply and accurately, dazzled with her command of intonation and vocal prowess in song 17 and achieved a tour de force in song 21—the highpoint of the cantata—with her enchanting, sensitive phrasing.


Newark (NJ) Star-Ledger:

[In New Jersey Symphony’s Mahler’s Fourth Symphony] Miss Matthews turned out to be a real find: this voice is no less than ideal for this part, being angelically pure but of substantial heft, color, and range.


The Orange County Register, CA:

[In Pacific Symphony Orchestra’s Messiah] A highlight of the afternoon was soprano soloist Andrea Matthews’ “Rejoice Greatly,” a performance characterized by a crystalline high end and remarkably clear passage work.


The Greenville News, SC:

[In Mahler’s Eighth Symphony with the Greenville Symphony Orchestra]: Most memorable for expressive singing and beautiful tone [was] soprano Andrea Matthews in the role of the Penitent One who proves to be Gretchen.


The News Journal, Wilmington, DE:

Soprano Andrea Matthews sings for less than 10 minutes in Mahler’s Symphony No. 4. But she very nearly stole the show at Thursday’s concert with the Delaware Symphony Orchestra in the Grand Opera House. Matthews’ clear, high voice provides a richness equal to the material. She captures the unalloyed joy of a simple child with little effort and wonderful effect.


The Berkshire Eagle, Great Barrington, MA:

“Merry and joyful,” soprano Andrea Matthews sang again and again, leaping lithely from note to glittering note like a gazelle [in Handel’s Chandos Anthem No. 12, with the Berkshire Bach Festival]…The program was merry and joyful indeed when Matthews spiraled her silvery voice and coloratura out through the crowded edifice. 

[In Bach’s St. John Passion, with the Berkshire Bach Festival]: Both soprano Andrea Matthews and mezzo-soprano Judith Malafronte delivered heartstopping, if not showstopping, arias—Matthews joyful in her “Ich folge dir gleichfalls”…


The Berkshire Record, Lenox, MA:

[In Bach’s St. John Passion, with the Berkshire Bach Festival]: Andrea Matthews sailed through her tricky soprano part with elegance and grace.


Intelligencer Journal, Lancaster, PA:

Ms. Matthews earned a standing ovation. There were bravos along with enthusiastic applause for her superb performance of “Concerto for Coloratura Soprano and Orchestra, Op. 82” by Reinhold Glière [with the Lancaster Symphony]. Ms. Matthews displayed a well-trained voice that was especially suited for the coloratura singing of Glière’s lyrical piece. As she “ahhhed” her way through the Andante movement, she sang with expression and emphasis, presenting the melodic quality of the composition to the audience and projecting her voice well. The Allegro showcased [the] technical proficiency and virtuosity [of] her voice with clear, brilliant tones.


Princeton Packet and other NJ papers:

: Guest appearances by Andrea Matthews and Cho-Liang Lin mark outstanding performance of works by Mozart and Mahler under the baton of Hugh Wolff [with the New Jersey Symphony]: [In the Mozart concert] aria “Non temer amato bene”…[it] was hard to tell which of the two was more expressive. Ms. Matthews’…strong technique enabled her to negotiate the chromatics and embellishments admirably…And the fourth movement [of Mahler’s Fourth Symphony], which featured the return of soprano Matthews, was thoroughly satisfying. Ms. Matthews has the perfect Mahler voice—rich, but with a decisive edge that cut through the thick orchestral textures, and a captivating purity of expression.


St. Paul Pioneer Press Dispatch, MN:

[In Minnesota Chorale’s Elijah (Mendelssohn)] Shining brightest in “Hear ye, Israel,” Matthews sang eloquently all evening, and clearly believed every word she uttered.

The Cincinnati Post, OH:

[In Cincinnati Symphony’s Mahler Fourth Symphony] Hair-raising is the only way to describe the fortississimo moment in the last movement, when soprano Andrea Matthews—gowned appropriately in white—stepped up onto a platform at the rear of the orchestra in preparation for the finale. It was as if the heavens had opened up and dropped an angel into their midst…Ms. Matthews displayed a warm, lovely voice in the finale, where she sang of the pleasures of heaven.


Orlando Sentinel, FL:

[In Winter Park Bach Festival’s Andrew Lloyd Webber Requiem] Lloyd Webber was especially well-served by the soloists. Soprano Andrea Matthews reveled in the high-flying lines of the “Pie Jesu,” treating them to some shimmering pianissimos… 

[In Brahms’ Requiem with the Winter Park Bach Festival] Soprano soloist Andrea Matthews provided some of the night’s most graceful moments by floating so smoothly through one of those meditations on comfort.

back to top