Launceston-born soprano Pamela Andrews returned home to put on a very special show. Andrews performed on Saturday at Sandhill Aged Care Facility at South Launceston, where her beloved dad Norman is a resident. Mr Andrews requested his daughter return to Launceston to perform for his peers. She said the “popular” opera set featured “recognisable tunes”. Read more here. – The Examiner, 18 November 2016, written by Tamara McDonald.
A career in opera took Pamela Andrews to Sydney, but the Launceston soprano hasn’t forgotten her roots. The trip back to Tasmania is a refreshing change from Sydney’s demanding pace for the operations manager of Pacific Opera. Read more here. – The Examiner, 16 November 2016, written by Lucy Stone.
Soloists Raphael Hudson and Pamela Andrews gave excellent performances … Pamela Andrews approached the music without haste, establishing a contemplative mood and enabling a spacious interpretation of the dynamic variations. A student of Louise Page, Andrews exhibits the warmth, strong technique and refined tone associated with her teacher’s performance style. – The Canberra Times, 15 September 2012, reviewed by Sasha Griffin.
Pamela Andrews is an exceptional soprano, and as Beatrice, demonstrated her excellent vocal control in top ‘head voice’ at pp. – The Canberra Critic blog, 5 July 2012, “Yakety Yak”, reviewed by “Max Mustermann”.
The strong cast includes the experienced Kate Tricks as the conniving and manipulative servant Columbina in a delightful performance, and singer Pamela Andrews whose wonderful voice brought the character of Beatrice, Tonino’s lover, to splendid life. – Canberra Critics’ Circle, 25 June 2012, “The Venetian Twins, reviewed by Malcolm Miller.
Tessa Bremner’s new production is a huge audience pleaser… This show has elements of every style of theatre you could imagine, from commedia dell’arte to vaudeville and Grand Opera, and Tessa Bremner was in control of it all and kept it moving along at the right pace. She has obtained excellent results from her cast, who have mastered the playing style that the show requires, making it all seem effortless and good fun … The music in this show is more clever than memorable. The musical director, Jim McMullen, did a fine job with the small orchestra and the cast all sang the score quite capably. Pamela Andrews displayed a fine coloratura voice … – ArtSound.FM, 24 June 2012, “Dress Circle”, reviewed by Len Power.
An excellent choice for inclusion in Canberra’s Repertory’s 80th anniversary season, “The Venetian Twins” is an iconic, though rarely-performed, Australian musical, written by Nick Enright, with music by Terence Clarke, who was in the opening-night audience. This larrikin knock-about comedy, concerning twin brothers and mistaken identity, is based on Goldoni’s “A Servant of Two Masters”. Its Elizabethan and Commedia del ‘Arte references, tongue-twisting songs and hectic pace, places considerable demands on its cast and requires style and flair to carry off successfully. Pamela Andrews sings beautifully as Beatrice … – City News, 24 June 2012, “Lots to like, but, oh, the staging”, reviewed by Bill Stephens.
There were well balanced, transcendent passages in the Quartet singing, particularly the Benedictus, supported by robust clarinet. Pamela Andrews (soprano) and Ellen Malone (alto) blended their voices effectively, especially in Domine Jesu Christe in the Offertorium. Read more here. – The Canberra Times, May 6 2010, “Raising Voices To Mozart”, reviewed by Jennifer Gall.
… a soiree of a delightful mix of music at the embassy of Austria for the Friends of Opera with Alan Hicks at the piano, taking us on a magical mystery tour into the life of Mahler. Hicks called it the main course of the feast he had cooked up for the evening with ANU voice department students. Entree was with Johann Strauss, with the lingering taste treat of Korngold and soprano voice Pamela Andrews. – The Canberra Times, June 25 2010, “About Town”, reviewed by Lyn Mills.
Pamela has a truly beautiful lyric soprano voice and possesses a wonderfully rich, full sound that is rarely heard in a woman of her age. I have heard her voice referred to as that of “a young Kiri Te Kanawa” by adjudicator Jonathan Welch, and I am in full agreeance with this remark. – Benjamin Martin, B.Mus, (Uni Tas), M.Mus, (Uni Melb), Britten-Pears Young Artist 2006 (Aldeburgh, UK).