The disc leaflet states 
                that the singer started his singing 
                with a Welsh Male Voice Choir and as 
                a soloist was awarded the ‘Blue Riband’ 
                at the Welsh National Eisteddfod and 
                the ‘International Young Singer of the 
                Year’ at the Llangollen International 
                Eisteddfod. He turned professional when 
                he left the Royal Northern College of 
                Music in 1992. According to my records 
                of his biographical details, Andrew 
                was born in 1968 and won the coveted 
                ‘Riband’ in 1992 AFTER which he entered 
                the R.N.C.M. to study with Neil Howlett. 
                The singer was good enough to reach 
                the finals of the College’s ‘Webster 
                Booth/Anne Ziegler Award’ finals in 
                1993 and 1994. In the first of those 
                years the finalists included Jane Irwin, 
                Claire Bradshaw and Riccardo Somonetti 
                who have gone on, like the 1994 winner, 
                Ashley Holland, to make considerable 
                careers in the operatic field, not least 
                with English National Opera. My notes 
                of the 1994 competition mention Andrew’s 
                voice as being of medium size, somewhat 
                tight, and of no great distinction. 
              
 
              
Listening to this collection, 
                Andrew Griffiths’ voice has grown whilst 
                his musicality has not kept pace. This 
                is most evident in the ‘Catalogue’ aria 
                (tr. 2) where there is a lack of tonal 
                variety with limited characterisation. 
                This in an aria that is a feast of possibilities. 
                In the Handel (tr. 3) the divisions 
                are not well articulated and the tone 
                raw at times, particularly at the top 
                of the voice (tr. 6). Elsewhere the 
                pianist does not help with slow tempi 
                that test the singer’s legato. In the 
                likes of Sullivan’s ‘Lost Chord’ what 
                Andrew lacks can be heard to superb 
                effect on Tommy Allen’s discs of ‘Songs 
                My Father Taught Me’ (Hyperion). He 
                goes head to head with Bryn Terfel’s 
                disc ‘We’ll Keep A Welcome’ (DG) in 
                ‘My Little Welsh Home’ (tr. 1) and ‘David 
                of the White Rock’ (tr. 4) the former 
                being one of the best tracks on the 
                disc. The other Welsh songs and those 
                of Schönberg and Leigh 
                (trs. 6, 13, 10) lie pleasantly on the 
                ear. 
              
 
              
The virtue of this 
                disc lies in its variety. Whilst Andrew 
                Griffiths will never scale the operatic 
                heights his singing will give pleasure 
                in the lighter repertoire and, to his 
                compatriots, in the Welsh language songs. 
              
Robert J Farr