Rigoletto (Gilda) Longborough Festival Opera – July 2015

‘Andrea Tweedale is a sensation in the role. Dressed in dowdy contrast to all the surrounding glitz, she encompasses all Verdi’s above-stave excursions with a bright, clear accuracy which in fact draws attention more to the beauty of the music rather than any canary-like spectacle. And this is another of Longborough’s delights: introducing us to exciting young artists whose progress we will follow with warm memories.’
Birmingham Post
‘Andrea Tweedale managed to make me feel her betrayal at the hands of the Duke, but more surprisingly she convinced me of her self-sacrifice in order to save him. It is the part of the plot that I find difficult to accept, yet she made it entirely believable.’
Bachtrack.com
‘…there was excellent singing too from English soprano Andrea Tweedale as Gilda… In the scene in which Gilda tells her father how she has been abducted by Duke’s cohorts, given to him for his pleasure and is now distraught with shame, yet still loves him, the anguish of both characters is palpable and painful.’
The Independent
‘…strong singing performances abound, including that of soprano Andrea Tweedale, as Rigoletto’s beloved daughter Gilda.’
The Oxford Times
‘The two other main roles, of Rigoletto by Austrian baritone Martin Konthaler and his daughter Gilda by soprano Andrea Tweedale, are also perfectly cast. (What is noticeable about these productions at Longborough is not only the standard of singing and orchestral accompaniment but also the quality of the acting).’
Stratford Herald

Ruddigore (Zorah) Charles Court Opera

‘Susanna Buckle and Andrea Tweedale, from the Royal Northern College of Music, have incredible comic timing as the Professional Bridesmaids.’
fringeopera.com
‘Andrea Tweedale and Susie Buckle (the perennial bridesmaids) carried a large amount of the comedy with their trite arm-ography and ever hopeful ‘Hail the bridegroom’.’
planethugill.com
‘A high standard of talent runs right through the entire company right down to the lesser roles, including Susanna Buckle and Andrea Tweedale as the birdesmaids who peddal out as much on-cue guffaws as the rest of the cast.’
grumpygaycritic.co.uk
‘Susanna Buckle and Andrea Tweedale give astounding value, standing in for a large chorus.’
onceaweektheatre.com
‘Sung with warm-voiced relish by Susanna Buckle (Ruth) and Andrea Tweedale (Zorah).’
bachtrack.com
‘The Bridesmaids’ constant and very funny refrain ‘Hail the Bridegroom, Hail the Bride’ is a memorable air, made all the more remarkable by Susanna Buckle and Andrea Tweedale effectively emulating a chorus of 22 voices.’
mytheatremates.com

La Bohème (Mimi) Opera on Location – August 2014

‘Andrea Tweedale is a terrific Mimi in every respect – super shaping of the music.’
classicalsheffield.org.uk
‘Andrea Tweedale as the consumptive Mimi manages to maintain both a beauty and delicacy to her arias as her strength fails.’
ourfaveplaces.co.uk

‘This is Mozart at his gentle best; and Andrea’s legato did him justice, soaring effortlessly into the rafters, never changing her intonation from the highest note to the lowest.’

– Robin Gregory

Anya 17 (Anya) Royal Liverpool Philharmonic 10/10 ensemble & RNCM 2012

‘Andrea Tweedale, as Anya, gave a bold, accomplished performance.’
Sunday Times
‘The cast performed to a high standard, especially in regards to their vocal production, which from some was highly technically polished, most impressively so from Andrea Tweedale (Anya), who maintained a versatile vocal and emotional performance throughout the technically challenging opera.’
mancunion.com

Pergolesi’s Vespers, Keswick Hall Choir and Norwich Baroque – April 2015

‘The accomplished soloists were the soprano Andrea Tweedale and the mezzo Fiona Mackay. Combining most agreeably, they were completely at home in the florid elaborations of their vocal lines. The Salve Regina was the very essence of Pergolesi with emotional weight as well as artistic charm.’
Eastern Daily Press

Strauss’ Vier Letzte Lieder, Westmoreland Orchestra – 2013

‘Andrea Tweedale was the soprano soloist in Richard Strauss’ lovely Four Last Songs. She has a fine voice with the strength, warmth and tonal colour required for this repertoire.’
Westmoreland Gazette

Mozart’s Laudate Dominum, Eastbourne Choral Society – 2013

‘This is Mozart at his gentle best; and Andrea’s legato did him justice, soaring effortlessly into the rafters, never changing her intonation from the highest note to the lowest.’
Robin Gregory