At these early stages of his career, PA has also made numerous appearances with the Tallis Scholars, the Sixteen and the Gothic Voices, before finally striking out on his own as a soloist in the early 1990's.

In 1993 or 1994, PA was noticed by William Christie, a celebrated early music conductor who had virtually single-handedly restored to prominence a whole page in the history of music: French Baroque. Christie, with a keen ear for young talent and a history of raiding the British Isles for soloists for his group Les Arts Florissants (LAF), didn't hesitate to add PA to his list of hand-picked proteges. Since then, PA has appered in many acclaimed LAF productions, becoming Christie's most favorite tenor since the founding of Les Arts Florissants. PA has sung with LAF more often than any other singer, male or female.

PA's biggest stage roles under Christie's direction were Jason in Charpentier's Medee and Hippolyte in Rameau's Hippolyte et Aricie. Although both of these roles were recorded with another tenor, PA did make a cameo appearance on the Hippolyte CD: singing Cupid's charming Plaisirs doux vainqueurs, one small aria that is almost worth the price of the entire CD!

On disc, PA got to shine in such gorgeous LAF recording as La Descente d'Orphee aux Enfers and Les Plaisirs de Versaille, both by Marc-Antoine Charpentier; Grands Motets by Jean-Philippe Rameau; Acis & Galatea by Georg-Frideric Handel, etc. PA's wonderful contribution was undoubtedly one of the reasons Rameau's Grands Motets won Gramophone's Best Early Music Vocal award in 1995. Orphee was also nominated for the 1995 award (in the opera category), but it was defeated by Christie's very own King Arthur. I am especially fond of PA's performance as Orphee. I am firmly convinced that as Orphee PA can really wake the dead. And if some of the living souls listening to that recording fail to appreciate it, well, they can safely cross baroque off their agendas.

In addition to appearances with LAF, PA appeared in Purcell's King Arthur with John Elliott Gardiner, Bach Cantatas with the Orchestra of the Age of Enlightenment, Purcell's Fairy Queen, Dioclesian and Timon of Athens with the English Consort under Trevor Pinnock, etc. PA has given a series of acclaimed recitals with lutenist Christopher Wilson, with whom he also recorded several discs of medieval English songs.

PA's many recordings, outside of LAF, include Mozart's Coronation Mass and Bach Cantatas with Ton Koopman, Bach's St. John Passion with Stephen Cleobury (also on video), Bach's St. Markus Passion with Roy Goodman, Bach's B Minor Mass and Cantatas with the Amsterdam Baroque Orchestra, Berlioz's L'Enfance du Christ with Philippe Herreweghe, Handel's Solomon with Paul McCreesh and many others. Especially notable is PA's recent recording of Bach's Christmas Oratorio with Pickett. According to Nicholas Anderson of Gramophone, Paul Agnew is the most naturally expressive Evangelist Anderson's ever heard (and he's heard all of them). Evangelists of the world - beware! :-)

Current operatic roles include, among others, Orfeo in Monteverdi's Orfeo in Toronto, Telemaco in Trevor Pinnock's production of Monteverdi's Il Ritorno d'Ulisse in Patria, Rameau's Platee and Les Indes Galantes with the Opera de Paris, Handel's Theodora directed by Paul McCreesh and Monteverdi's Combattimento directed by Marc Minkowski.