In a brutal world where revenge is enacted with the axe, Klytämnestra has murdered her husband Agamemnon. Their daughter Elektra is consumed by her grief and is fixated on vengeance against her mother. Justice must be served. Alexandra returns to San Francisco Opera singing the Overseer and covering Elektra.
In a brutal world where revenge is enacted with the axe, Klytämnestra has murdered her husband Agamemnon. Their daughter Elektra is consumed by her grief and is fixated on vengeance against her mother. Justice must be served. Alexandra returns to San Francisco Opera singing the Overseer and covering Elektra.
In a brutal world where revenge is enacted with the axe, Klytämnestra has murdered her husband Agamemnon. Their daughter Elektra is consumed by her grief and is fixated on vengeance against her mother. Justice must be served. Alexandra returns to San Francisco Opera singing the Overseer and covering Elektra.
In a brutal world where revenge is enacted with the axe, Klytämnestra has murdered her husband Agamemnon. Their daughter Elektra is consumed by her grief and is fixated on vengeance against her mother. Justice must be served. Alexandra returns to San Francisco Opera singing the Overseer and covering Elektra.
In a brutal world where revenge is enacted with the axe, Klytämnestra has murdered her husband Agamemnon. Their daughter Elektra is consumed by her grief and is fixated on vengeance against her mother. Justice must be served. Alexandra returns to San Francisco Opera singing the Overseer and covering Elektra.
In a brutal world where revenge is enacted with the axe, Klytämnestra has murdered her husband Agamemnon. Their daughter Elektra is consumed by her grief and is fixated on vengeance against her mother. Justice must be served. Alexandra returns to San Francisco Opera singing the Overseer and covering Elektra.
The supernatural story takes place in the “bardo,” a transitional plane between the end of this life and the beginning of the next, populated by those who resist all the powers of light and darkness and refuse to accept their fates. Alexandra returns to the roster of the Metropolitan Opera to cover The Reverend.
The supernatural story takes place in the “bardo,” a transitional plane between the end of this life and the beginning of the next, populated by those who resist all the powers of light and darkness and refuse to accept their fates. Alexandra returns to the roster of the Metropolitan Opera to cover The Reverend.
The supernatural story takes place in the “bardo,” a transitional plane between the end of this life and the beginning of the next, populated by those who resist all the powers of light and darkness and refuse to accept their fates. Alexandra returns to the roster of the Metropolitan Opera to cover The Reverend.
The supernatural story takes place in the “bardo,” a transitional plane between the end of this life and the beginning of the next, populated by those who resist all the powers of light and darkness and refuse to accept their fates. Alexandra returns to the roster of the Metropolitan Opera to cover The Reverend.
The supernatural story takes place in the “bardo,” a transitional plane between the end of this life and the beginning of the next, populated by those who resist all the powers of light and darkness and refuse to accept their fates. Alexandra returns to the roster of the Metropolitan Opera to cover The Reverend.
The supernatural story takes place in the “bardo,” a transitional plane between the end of this life and the beginning of the next, populated by those who resist all the powers of light and darkness and refuse to accept their fates. Alexandra returns to the roster of the Metropolitan Opera to cover The Reverend.
The supernatural story takes place in the “bardo,” a transitional plane between the end of this life and the beginning of the next, populated by those who resist all the powers of light and darkness and refuse to accept their fates. Alexandra returns to the roster of the Metropolitan Opera to cover The Reverend.
The supernatural story takes place in the “bardo,” a transitional plane between the end of this life and the beginning of the next, populated by those who resist all the powers of light and darkness and refuse to accept their fates. Alexandra returns to the roster of the Metropolitan Opera to cover The Reverend.
The supernatural story takes place in the “bardo,” a transitional plane between the end of this life and the beginning of the next, populated by those who resist all the powers of light and darkness and refuse to accept their fates. Alexandra returns to the roster of the Metropolitan Opera to cover The Reverend.
King Gustav III of Sweden has a guilty secret: he is in love with his closest friend’s wife. He also has enemies. Giuseppe Verdi’s three-act masterwork is based on the real-life assassination of the King in 1792 and filled with twists, turns, love, betrayal, murder, a magic herb and the backdrop of an operatic classic, a masked ball. Alexandra returns to Pittsburgh Festival Opera in her role debut as Amelia.
Strauss’ Four Last Songs and Wagner’s Liebestod offer transcendent visions of love and mortality. Brahms’ Gesang der Parzen and Beethoven’s Elegischer Gesang bring choral gravitas and beauty, while the overture to Wagner’s Meistersinger opens with noble serenity. Alexandra makes her debut with Richmond Symphony singing Liebestod from "Tristan und Isolde" and Strauss' Four Last Songs. 
Richard Strauss’s Der Rosenkavalier waltzes into HGO in a stylish production from director Bruno Ravella. The staging transports the 18th-century comedy of manners into the chic world of 1950s Vienna, where the glamorous Marschallin is having an affair with the young Count Octavian—until his heart is captured by Sophie, the innocent fiancée of the blundering Baron Ochs. What follows is a delicious mix of mistaken identities, romantic awakenings, and bittersweet partings, all set to Strauss’s lush, sparkling score, filled with swirling waltzes and opera’s most transcendent final trio. Alexandra returns to Houston Grand Opera in role debut as Marianne Leitmetzer. Richard Strauss’s Der Rosenkavalier waltzes into HGO in a stylish production from director Bruno Ravella. The staging transports the 18th-century comedy of manners into the chic world of 1950s Vienna, where the glamorous Marschallin is having an affair with the young Count Octavian—until his heart is captured by Sophie, the innocent fiancée of the blundering Baron Ochs. What follows is a delicious mix of mistaken identities, romantic awakenings, and bittersweet partings, all set to Strauss’s lush, sparkling score, filled with swirling waltzes and opera’s most transcendent final trio. Alexandra returns to Houston Grand Opera in role debut as Marianne Leitmetzer. Richard Strauss’s Der Rosenkavalier waltzes into HGO in a stylish production from director Bruno Ravella. The staging transports the 18th-century comedy of manners into the chic world of 1950s Vienna, where the glamorous Marschallin is having an affair with the young Count Octavian—until his heart is captured by Sophie, the innocent fiancée of the blundering Baron Ochs. What follows is a delicious mix of mistaken identities, romantic awakenings, and bittersweet partings, all set to Strauss’s lush, sparkling score, filled with swirling waltzes and opera’s most transcendent final trio. Alexandra returns to Houston Grand Opera in role debut as Marianne Leitmetzer. Richard Strauss’s Der Rosenkavalier waltzes into HGO in a stylish production from director Bruno Ravella. The staging transports the 18th-century comedy of manners into the chic world of 1950s Vienna, where the glamorous Marschallin is having an affair with the young Count Octavian—until his heart is captured by Sophie, the innocent fiancée of the blundering Baron Ochs. What follows is a delicious mix of mistaken identities, romantic awakenings, and bittersweet partings, all set to Strauss’s lush, sparkling score, filled with swirling waltzes and opera’s most transcendent final trio. Alexandra returns to Houston Grand Opera in role debut as Marianne Leitmetzer. Richard Strauss’s Der Rosenkavalier waltzes into HGO in a stylish production from director Bruno Ravella. The staging transports the 18th-century comedy of manners into the chic world of 1950s Vienna, where the glamorous Marschallin is having an affair with the young Count Octavian—until his heart is captured by Sophie, the innocent fiancée of the blundering Baron Ochs. What follows is a delicious mix of mistaken identities, romantic awakenings, and bittersweet partings, all set to Strauss’s lush, sparkling score, filled with swirling waltzes and opera’s most transcendent final trio. Alexandra returns to Houston Grand Opera in role debut as Marianne Leitmetzer. Soprano Alexandra Loutsion joins Valentina Peleggi and the Richmond Symphony Chorus for a deeply reflective and radiant program. Strauss’ Four Last Songs and Wagner’s Liebestod offer transcendent visions of love and mortality. Brahms’ Gesang der Parzen and Beethoven’s Elegischer Gesang bring choral gravitas and beauty, while the overture to Wagner’s Meistersinger opens with noble serenity.
Step through the forest and into the enchanting world of Humperdinck’s Hansel and Gretel, a timeless adaptation of the Brothers Grimm tale that will captivate audiences of all ages. This family-friendly production unfolds in a German romantic setting, full of dirndls, Alpine hats, and misty clouds. The composer’s whimsical, sophisticated melodies, derived from German nursery songs, will hold audiences spellbound as they join Hansel and Gretel on their dangerous journey to the realm where the Witch reigns from her house of cake, topped with a shining red cherry. Alexandra makes her Houston Grand Opera debut as Gertrude (the Mother).
Step through the forest and into the enchanting world of Humperdinck’s Hansel and Gretel, a timeless adaptation of the Brothers Grimm tale that will captivate audiences of all ages. This family-friendly production unfolds in a German romantic setting, full of dirndls, Alpine hats, and misty clouds. The composer’s whimsical, sophisticated melodies, derived from German nursery songs, will hold audiences spellbound as they join Hansel and Gretel on their dangerous journey to the realm where the Witch reigns from her house of cake, topped with a shining red cherry. Alexandra makes her Houston Grand Opera debut as Gertrude (the Mother).
Step through the forest and into the enchanting world of Humperdinck’s Hansel and Gretel, a timeless adaptation of the Brothers Grimm tale that will captivate audiences of all ages. This family-friendly production unfolds in a German romantic setting, full of dirndls, Alpine hats, and misty clouds. The composer’s whimsical, sophisticated melodies, derived from German nursery songs, will hold audiences spellbound as they join Hansel and Gretel on their dangerous journey to the realm where the Witch reigns from her house of cake, topped with a shining red cherry. Alexandra makes her Houston Grand Opera debut as Gertrude (the Mother).
Step through the forest and into the enchanting world of Humperdinck’s Hansel and Gretel, a timeless adaptation of the Brothers Grimm tale that will captivate audiences of all ages. This family-friendly production unfolds in a German romantic setting, full of dirndls, Alpine hats, and misty clouds. The composer’s whimsical, sophisticated melodies, derived from German nursery songs, will hold audiences spellbound as they join Hansel and Gretel on their dangerous journey to the realm where the Witch reigns from her house of cake, topped with a shining red cherry. Alexandra makes her Houston Grand Opera debut as Gertrude (the Mother).
Step through the forest and into the enchanting world of Humperdinck’s Hansel and Gretel, a timeless adaptation of the Brothers Grimm tale that will captivate audiences of all ages. This family-friendly production unfolds in a German romantic setting, full of dirndls, Alpine hats, and misty clouds. The composer’s whimsical, sophisticated melodies, derived from German nursery songs, will hold audiences spellbound as they join Hansel and Gretel on their dangerous journey to the realm where the Witch reigns from her house of cake, topped with a shining red cherry. Alexandra makes her Houston Grand Opera debut as Gertrude (the Mother).
Lyric Opera of Chicago presents Medea, a tale of infidelity and revenge like no other. Euripides’s millennia-old tragedy comes to life — and gruesome death — in this presentation of acclaimed director Sir David McVicar’s iconic, grand-scale production. Alexandra returns to Lyric Opera of Chicago covering the title role.
Lyric Opera of Chicago presents Medea, a tale of infidelity and revenge like no other. Euripides’s millennia-old tragedy comes to life — and gruesome death — in this presentation of acclaimed director Sir David McVicar’s iconic, grand-scale production. Alexandra returns to Lyric Opera of Chicago covering the title role.
Lyric Opera of Chicago presents Medea, a tale of infidelity and revenge like no other. Euripides’s millennia-old tragedy comes to life — and gruesome death — in this presentation of acclaimed director Sir David McVicar’s iconic, grand-scale production. Alexandra returns to Lyric Opera of Chicago covering the title role.
Lyric Opera of Chicago presents Medea, a tale of infidelity and revenge like no other. Euripides’s millennia-old tragedy comes to life — and gruesome death — in this presentation of acclaimed director Sir David McVicar’s iconic, grand-scale production. Alexandra returns to Lyric Opera of Chicago covering the title role.
Lyric Opera of Chicago presents Medea, a tale of infidelity and revenge like no other. Euripides’s millennia-old tragedy comes to life — and gruesome death — in this presentation of acclaimed director Sir David McVicar’s iconic, grand-scale production. Alexandra returns to Lyric Opera of Chicago covering the title role.
Lyric Opera of Chicago presents Medea, a tale of infidelity and revenge like no other. Euripides’s millennia-old tragedy comes to life — and gruesome death — in this presentation of acclaimed director Sir David McVicar’s iconic, grand-scale production. Alexandra returns to Lyric Opera of Chicago covering the title role.
Verdi revised all but 9 of his 27 operas after their premieres. Sometimes the touchups were for a particular situation and did not go into the published score; sometimes they were so global that the result was a new opera with a different name. Sometimes they involved musical improvements or additions without major alteration to the shape of the work.
But in four cases–Macbeth, Simon Boccanegra, La Forza del Destino and Don Carlos–he left us two quite radically different versions of the same title. In all four, the “new” music is wonderful: Italy’s greatest operatic master at the peak of his form. Why then revive their first versions?
The answer is that Verdi was a great composer in all phases of his long career, and so we haven’t really heard all his operas until we’ve heard both versions of those four. The case is probably strongest for Macbeth, because the familiar score, wonderful as it is, veers a little disorientingly between music written before Il Corsaro and Luisa Miller and music written after Un Ballo in Maschera and La Forza del Destino. Come witness the drama of one of Shakespeare’s most exciting plays in operatic form. Alexandra makes her Teatro Nuovo debut in the role of Lady Macbeth.
Verdi revised all but 9 of his 27 operas after their premieres. Sometimes the touchups were for a particular situation and did not go into the published score; sometimes they were so global that the result was a new opera with a different name. Sometimes they involved musical improvements or additions without major alteration to the shape of the work.
But in four cases–Macbeth, Simon Boccanegra, La Forza del Destino and Don Carlos–he left us two quite radically different versions of the same title. In all four, the “new” music is wonderful: Italy’s greatest operatic master at the peak of his form. Why then revive their first versions?
The answer is that Verdi was a great composer in all phases of his long career, and so we haven’t really heard all his operas until we’ve heard both versions of those four. The case is probably strongest for Macbeth, because the familiar score, wonderful as it is, veers a little disorientingly between music written before Il Corsaro and Luisa Miller and music written after Un Ballo in Maschera and La Forza del Destino. Come witness the drama of one of Shakespeare’s most exciting plays in operatic form. Alexandra makes her Teatro Nuovo debut in the role of Lady Macbeth.
Modesto Symphony Orchestra’s Classics Series concludes with Verdi’s monumental Requiem. This choral masterpiece was written as an expression of Verdi’s grief. Throughout, you will be surrounded by every emotion from loss, anger, and fear to eventual hope and peace through the soaring melodies, thunderous percussion, and power of the MSO, MSO Chorus and soloists.
Modesto Symphony Orchestra’s Classics Series concludes with Verdi’s monumental Requiem. This choral masterpiece was written as an expression of Verdi’s grief. Throughout, you will be surrounded by every emotion from loss, anger, and fear to eventual hope and peace through the soaring melodies, thunderous percussion, and power of the MSO, MSO Chorus and soloists.
Turandot, a beautiful princess with a heart of ice, meets her match when the prince Calaf dares to answer her deadly riddles with the promise of love. A selfless sacrifice by Calaf’s faithful servant ultimately awakens true emotion in Turandot, proving that in the game of love, you can’t win the top prize without giving away your heart. Puccini’s final masterwork features one of the most iconic and powerful arias in all of opera, “Nessun dorma,” transporting audiences to another time and place, a world of heightened spectacle where myth comes to life through music. Alexandra returns to Lyric Opera of Kansas City to cover the title role.
Turandot, a beautiful princess with a heart of ice, meets her match when the prince Calaf dares to answer her deadly riddles with the promise of love. A selfless sacrifice by Calaf’s faithful servant ultimately awakens true emotion in Turandot, proving that in the game of love, you can’t win the top prize without giving away your heart. Puccini’s final masterwork features one of the most iconic and powerful arias in all of opera, “Nessun dorma,” transporting audiences to another time and place, a world of heightened spectacle where myth comes to life through music. Alexandra returns to Lyric Opera of Kansas City to cover the title role.
Turandot, a beautiful princess with a heart of ice, meets her match when the prince Calaf dares to answer her deadly riddles with the promise of love. A selfless sacrifice by Calaf’s faithful servant ultimately awakens true emotion in Turandot, proving that in the game of love, you can’t win the top prize without giving away your heart. Puccini’s final masterwork features one of the most iconic and powerful arias in all of opera, “Nessun dorma,” transporting audiences to another time and place, a world of heightened spectacle where myth comes to life through music. Alexandra returns to Lyric Opera of Kansas City to cover the title role.
Opera at its grandest! While Aida delights audiences with its visual splendor, it also captivates them with a score ranging from exquisitely intimate arias to deeply dramatic duets and trios, and the most thrilling choruses Verdi ever composed. Aida presents a riveting love triangle, which unfolds in an alluring Egyptian setting. Alexandra joins The Metropolitan Opera roster for the first time covering the title role.
Opera at its grandest! While Aida delights audiences with its visual splendor, it also captivates them with a score ranging from exquisitely intimate arias to deeply dramatic duets and trios, and the most thrilling choruses Verdi ever composed. Aida presents a riveting love triangle, which unfolds in an alluring Egyptian setting. Alexandra joins The Metropolitan Opera roster for the first time covering the title role.
Opera at its grandest! While Aida delights audiences with its visual splendor, it also captivates them with a score ranging from exquisitely intimate arias to deeply dramatic duets and trios, and the most thrilling choruses Verdi ever composed. Aida presents a riveting love triangle, which unfolds in an alluring Egyptian setting. Alexandra joins The Metropolitan Opera roster for the first time covering the title role.
Opera at its grandest! While Aida delights audiences with its visual splendor, it also captivates them with a score ranging from exquisitely intimate arias to deeply dramatic duets and trios, and the most thrilling choruses Verdi ever composed. Aida presents a riveting love triangle, which unfolds in an alluring Egyptian setting. Alexandra joins The Metropolitan Opera roster for the first time covering the title role.
Opera at its grandest! While Aida delights audiences with its visual splendor, it also captivates them with a score ranging from exquisitely intimate arias to deeply dramatic duets and trios, and the most thrilling choruses Verdi ever composed. Aida presents a riveting love triangle, which unfolds in an alluring Egyptian setting. Alexandra joins The Metropolitan Opera roster for the first time covering the title role.
Alexandra returns to Washington National Opera as the rehearsal cover for Lady Macbeth.
Beginning in May 2024, the Dallas Symphony Orchestra, under the direction of Music Director Fabio Luisi, will present an opera-in-concert version of Richard Wagner’s complete Der Ring des Nibelungen with internationally renowned singers. The Dallas Symphony is the first US orchestra to perform a full Ring cycle in concert in recent history. Alexandra makes her Dallas Symphony and role debut as Gerhilde and Sieglinde (cover).
Mozart’s masterpiece tells the story of a handsome playboy, Don Giovanni, as he blazes a path to his own destruction in a single day. He’s loved by women as much as he loves them, but his disregard for decency catches up with him. In the end, supernatural forces exact the final punishment and, for the first time, the Don cannot outwit fate. Alexandra returns to Virginia Opera in her role debut as Donna Elvira.
Mozart’s masterpiece tells the story of a handsome playboy, Don Giovanni, as he blazes a path to his own destruction in a single day. He’s loved by women as much as he loves them, but his disregard for decency catches up with him. In the end, supernatural forces exact the final punishment and, for the first time, the Don cannot outwit fate. Alexandra returns to Virginia Opera in her role debut as Donna Elvira.
Mozart’s masterpiece tells the story of a handsome playboy, Don Giovanni, as he blazes a path to his own destruction in a single day. He’s loved by women as much as he loves them, but his disregard for decency catches up with him. In the end, supernatural forces exact the final punishment and, for the first time, the Don cannot outwit fate. Alexandra returns to Virginia Opera in her role debut as Donna Elvira.
Mozart’s masterpiece tells the story of a handsome playboy, Don Giovanni, as he blazes a path to his own destruction in a single day. He’s loved by women as much as he loves them, but his disregard for decency catches up with him. In the end, supernatural forces exact the final punishment and, for the first time, the Don cannot outwit fate. Alexandra returns to Virginia Opera in her role debut as Donna Elvira.
