Mr Andrew Dalton
C41 - Sydney Conservatorium of Music
The University of Sydney
Andrew Dalton won the ABC’s Instrumental and Vocal Competition (now the Young Performers Awards) and continued his studies in London.
Since then, he has toured extensively throughout Europe, appearing at most major festivals including Munich, Berlin, Paris, Edinburgh and Salzburg, and has undertaken concert tours in Australia, the Far East and USA (with the Drottningholm Baroque Ensemble).
His opera performances have similarly taken him throughout Europe and include:
- A Midsummer Night’s Dream (Linz, Lubeck, Karlsruhe, Basel and Cologne)
- Death in Venice (Scottish Opera and Geneva)
- Ariodante (Theatre des Champs Elysees, Paris)
- L’Egisto (Scottish Opera)
- Rodrigo (Innsbruck)
- Agrippina (La Fenice, Venice)
- Le Convenienze ed Inconvenienze di Teatrali (La Fenice, Venice)
- Orfeo (Geneva)
- Belshazzar (Lausanne)
- Il ritorno d’Ulisse (Avignon and Lausanne)
- Fetonte (La Scala, Milan)
- Messiah (Covent Garden)
In 1991 Andrew Dalton returned to live in Australia. Since then, he has appeared with Opera Australia in Death in Venice; Il coronazione di Poppea; A Midsummer Night’s Dream; and in the highly acclaimed production of Handel’s Julius Caesar. He has given concerts with the Australian Chamber Orchestra and performed with all the Symphony Australia Orchestras and has made several internationally acclaimed recordings (for BIS, EMI and ETCETERA labels) including solo recitals of Henry Purcell and John Dowland.
His television appearances have included the title role in Stradella’s San Giovanni Battista for Swedish Television; a film on the life of Queen Christina (which won the Prix Italia Award); a documentary on Handel for Granada Television; and Opera Australia’s production of Julius Caesar.
He has held teaching positions at the Queensland Conservatorium of Music; Music Department of the University of Queensland; and Head of Voice at ANU, Canberra.
Through the role of teacher, we continually take inspiration, understanding and insight from the individuality of our students.
There are muscles; application of personal responsibility; and instinct, which, when in alignment, become the core components of the singer’s skills.
The performer evolves, guided through a process of empowerment and conviction of interpreting text and music with their own ‘blue-print’ of authenticity.
Creativity takes courage – Henri Matisse