britten folksongs with brooklyn art song society, 2019:
Rick Perdian, Seen and Heard International
“the clear-voiced troubadour with unsurpassable diction…Fuchs opened the concert with the rueful sentiments of an impetuous lad unlucky in love in ‘The salley gardens’. His voice easily expanded to fill out the well-known melody, as it did later in his haunting rendition of ‘At the mid hour of night’, but his command of text, cheekiness and ramrod straight posture set him apart as a topnotch musical storyteller. His ‘Oliver Cromwell’, with its ‘hee-haws’ and ‘hippety hops’, was pure fun, while wry delivery and confident manliness combined to make ‘Sally in our alley’ a heartwarming tale of love triumphing over the taunts and teasing of his neighbors.”
Photo credit: Cavatina Creative
daniel thomas davis’s SIX. TWENTY. OUTRAGEOUS, 2018:
Anne E. Johnson, Classical Voice North America
“Fuchs is a gifted actor, and he played the Toklas character with great sensitivity and range.”
Guest of New York pOlyphony’s in palestrina’s missa papae marcelli, 2017:
“Theirs is not a blend, but an organic interconnectedness of individual voices, each equally attentive both to the others and to the constantly shape-changing whole.”
Alexander Goehr’s Verschwindendes Wort, world premiere at juilliard, 2016:
Anthony Tommasini, New York Times
“With two fine vocal soloists, the tenor Andrew Fuchs and the mezzo-soprano Jacqueline Horner-Kwiatek, Mr. Sachs led the ensemble in the premiere of “Vanishing Word,” a compelling 35-minute work by the English composer Alexander Goehr, consisting of settings of poems by Rilke and others, interspersed with instrumental preludes.”
Evangelist in St. Matthew Passion with the Canticum Novum Singers, 2014:
Jean Ballard Tarepka, TheaterScene.net
"Fuchs made the Evangelist fully human and, in doing so, served with exceptional skill the project of bringing the listening congregation back in time from twenty-first century New York City through eighteen century Leipzig to first century Jerusalem."
Britten’s Canticle III: Still Falls the Rain at the Tanglewood Music Center, 2013:
Keith Kibler, Berkshire Review
"Best of all for me was Andrew Fuchs’ elemental Canticle No. 3, “Still Falls the Rain,” in a superb Sunday morning recital which included all of Benjamin Britten’s Canticles. In a concert which featured no less than four excellent tenors, Mr. Fuchs sang the saddest, toughest text of all, “Still Falls the Rain,” with complete identification. One did not notice that he was singing. It was a different and much greater and more beautiful kind of speaking. This young singer had been coached by Dawn Upshaw, and I saw in him some of her vivid artistry. But identification with a piece on this level was his. He was it; it was he. I will drive a long way to hear this young singer again, because he showed me what singing is."
First Sailor in Dido and Aeneas at the Tanglewood Music Center, 2013:
Kimberly Feltkamp, TMI Arts Page
"Tenor Andrew Fuchs stood out as the Sailor with his polished singing and beautiful tone."
Evangelist in Bach’s St. John Passion with the Saint Andrew Chorale, NYC, 2011:
"The Evangelist, Andrew Fuchs, was wonderful...totally enacting the whole story line. His German diction was perfect...and he did a lot to keep the thing flowing...the Evangelist won the day!"
American Art Song recital with Stony Brook University in Southampton, NY, 2010:
Susan M. Galardi, Dan’s Papers
"Andrew Fuchs’ rendition of “The Nightingale,” a dailogue between a soldier and a maiden, was dramatically the strongest piece of the first act....as the piano part played on, Fuchs registered a subtle, winsome expression that made you feel the young soldier’s doubt, a chink in his armor of resolve."