Suor Angelica, Suor Angelica Out of the Box Opera 2024

“Alexandra Loutsion, playing the title role of Suor Angelica, delivered a commanding performance both vocally and physically. Her soprano voice, with an impressive lower register, initially made her seem like a fabulous mezzo-soprano, but her powerful high notes during the arias were truly breathtaking.” -Jared Fessler, BroadwayWorld

“The cast all perform exquisitely, with Alexandra Loutsion as Suor Angelica and Alice Chung as La Principessa given by far the greatest opportunities to shine. Loutsion has a stunning soprano voice, and while I do not usually identify the word "fierce" with a soprano, in this case it applies. Moreover, Loutsion uses her face, her body, and dramatic timing as effective tools in delivering a powerhouse performance.” -Arthur Dorman, Talkin’ Broadway

Mother Abbess, The Sound of Music Lyric Opera of Kansas City 2023

“Alexandra Loutsion’s portrayal of Mother Abbess was a force to the stage-her operatic voice enveloped the whole theatre and the soaring conclusion to the first act was a highlight of the show.” -Ivy Anderegg, The Pitch

“Alexandra Loutsion is an excellent Mother Abbess”-Alan Portner, BroadwayWorld

Brünnhilde, Siegfried Virginia Opera 2023

“Given the impact and quality of Alexandra Loutsion in a thrilling roll debut as the awakened Brünnhilde, having the entire middle section of the duet vanish was musically and emotionally jarring…Loutsion really delivered the goods, with a full rich tone and two stunning high Cs but also well-considered gestures and word painting.” -David Shengold, Opera with Opera News

“Then Ms. Loutsion as Brünnhilde awakens in a costume more befitting a lovely maiden than the warrior gear she had to wear in The Valkyrie.  She is also an excellent Wagnerian singer and animates the scene explosively.  Her thunderous welcoming of the sun woke me up and made me glad I was there.” -OperaGene

“Chief among the Valkyries is Wotan’s favorite, Brünnhilde (then as now, fine Wagnerian soprano Alexandra Loutsion).”-Page Laws, The Virginian Pilot

Brünnhilde, Die Walküre Opera Santa Barbara 2023

“Alexandra Loutsion’s Brünnhilde was commanding and nuanced, suiting the complex character, climaxing in the surprisingly lyrical and dreamy finale of Wagner’s score, and her sleepy, fire-protected banishment to the mortal world.” -Josef Woodard, Santa Barbara Independent

“Greek American soprano Alexandra Loutsion was absolutely glorious as Brünhilde, the titular Valkyrie.” -Richard Mineards, The Montecito Journal

Leonora, Il Trovatore Pittsburgh Opera 2023

“Soprano Alexandra Loutsion led the way here, showing command right from the stasrt in “Tacea la notte placida”. She created a vocal arc for Leonora that soared to the last act, in which she delivered “D’amor sull’ali rosee” with heartfelt expression and a finely controlled line.”-Jane Vranish, Opera News

“In the glistening costume department, nobody made out like Alexandra Loutsion. She wore several eye-poppingly beautiful gowns that suited her magnificent appearance and voice perfectly. She was, indeed, the vocal star of the show, but that could have been easily predicted by anyone who has heard her sing…she sang mightily and delicately towards the demands the fourth act make of Leonora. These she handled with an ease which also could have been predicted. She made bravery and fright palpable, and sang her way through the part with the grace and beauty of tone she always so eloquently delivers. -George Parous, OnStage Pittsburgh

“As Leonora, soprano Alexandra Loutsion proves great talent can derive, quite evidently, from a career not long ventured…her performance Saturday, soaring and sincere, answers why.” -Prentiss Orr, Pittsburgh Entertainment Central

“The rest of the cast deserves accolades as well, including Alexandra Loutsion, the female lead. Overall, this is one of the finest vocal casts I’ve heard lately.” -Jeremy Reynolds, Pittsburgh Post-Gazette

Abigaille, Nabucco Washington Concert Opera 2023

Named “Best Debut for 2023” from Washington Classical Review: “Verdi’s Nabucco was not exactly a daring choice for Washington Concert Opera, but their performance of the work last March featured a scorching debut by Alexandra Loutsion. As Nabucco’s adopted daughter, Abigaille, the spitfire soprano imposed her powerful voice, from a resonant chest range up to a searing high C.” -Charles T Downey, Washington Classical Review

“Boosting the evening’s wattage considerably, Alexandra Loutsion unleashed a mighty soprano in the challenging role of Abigaille. The steel and stamina of her singing, backed by a scrupulous technique, proved irresistible, especially when she took in stride the dizzying leaps and bounds peppering the recitative of Abigaille’s big scene in the opera’s Act II…Loutsion shaped the lyrical passages with a good deal of elegance, most notably in “Anch’io dischiuso un giorno”.-Tim Smith, Opera News

“In the role of Abigaille, Nabucco’s elder daughter, Greek American soprano Alexandra Loutsion at times seemed to channel Maria Callas’s explosive, bell-like — and pitch-perfect — sound. Full-figured, in a glittering yellow gown, she was the focus of attention in Act I, cursing the young lovers (“The thunderbolt of my revenge hangs over your heads!”). Ismaele’s refusal to choose Abigaille over Fenena, even if it would save his people, launched a nicely balanced trio.  Sung by Loutsion, Abigaille briefly showed a softer side in Act II, tenderly recalling her love for Ismaele, and at the end of the opera, putting her hands on Nabucco’s chest as (spoiler) she dies. But most of the time, she is terrifying.” -Richard Selden, The Georgetowner

“For the character of Abigaille…Verdi created one of his most punishing roles…Soprano Alexandra Loutsion, who made a fine Tosca at Wolf Trap in 2017, gave a powerhouse rendition of this dramatic role, with extraordinary resonance of chest voice, as well as a searing high C, deployed several times in her Act II showcase. Having two singers of equal potency in these roles made the Act III duet between Nabucco and Abigaille a highlight of the evening. Loutsion, after so much devastating singing of pointed high notes and bitter vitriol, brought her most serene, polished tone to Abigaille’s final aria, sung from memory and to the touching accompaniment of English horn, harp, and solo cello. This was truly one of the most scintillating WCO debuts in recent memory.” -Charles T. Downey, Washington Classical Review

“Mr. Lynch commands the stage in every performance as he did Saturday night, although soprano Alexandra Loutsion as his daughter Abigaille went toe to toe with him in a powerful duet. Another [highlight] was Ms. Loutsion’s command of her upper register and the delight she demonstrated in playing a meanie; I will have to give her some slack, after all, her love interest in Ismäele was rejected.  I have seen Ms. Loutsion before…and she always delights.” -OperaGene

Brünnhilde, Die Walküre Virginia Opera 2022

“As Wotan’s daughter, Brünnhilde, leader of the Valkyries, soprano Alexandra Loutsion showed warmth and richness in her lower register throughout, an effective contrast to the passion and power she displayed in her final confrontation with her father.” -Bob Ashby, DC Theater Arts

“Brünnhilde (sung powerfully by soprano Alexandra Loutsion)…” -Cordelia Dreisonstock, MD Theater Guide

“The women in this production are winsome and have the requisite big voices, especially…soprano Alexandra Loutsion as Brünnhilde.” -Page Laws, The Virginian-Pilot

Mother Abbess, The Sound of Music The Glimmerglass Festival 2022

“…you need a Mother Abbess and soprano Alexandra Loutsion fills the role splendidly. She shows the Abbess’s humanity and sings a gorgeous ”Climb Ev’ry Mountain”. -James Karas, The Greek Press

“Alexandra Loutsion was an imposing Mother Abbess…”-Heidi Waleson, The Wall Street Journal

“…Loutsion’s sheer vocal quality was impressive.” -David Shengold, Opera News

Salome, Salome   Fisher Center at Bard 2022

“March 20 marked the second performance at Bard College of an intriguing Salome, intelligently staged and designed by R. B. Schlather, and offering an impressive showcase for the talents of rising dramatic soprano Alexandra Loutsion…A tall, broad-shouldered woman, Loutsion moves well and with point, and was able for example to get on and off the floor to peer into the cistern into which Jokanaan had retreated. Her soprano is an impressive instrument with clean attacks on top. Here singing her second Salome in forty-eight hours, she unfurled her full vocal power by degrees, thus accenting the climaxes of the cat-and-mouse negotiations with Herod and the uniquely unhinged final scene. She lacked neither control nor dynamic contrast, and she, Botstein and Schlather made her text pointed throughout.”-David Shengold, Opera News

“The marvelous soprano Alexandra Loutsion, whose repertoire includes Turandot, Elektra and Lady Macbeth, sailed vocally through the opera as if the many, many forte high As, B flats and Bs were in the middle of her voice… is a handsome, very full-figured woman. She was overtly vicious, bratty and kittenish, each in turn with the text and music.” -Robert Levine, Opera Gazet

Soprano Soloist, Legends in the Limelight Pittsburgh Festival Opera 2021

“A gifted soprano, quite pleased to be facing a live audience for the first time in well over a year…made for an auspicious opening of the Pittsburgh Festival Opera “Legends in the Limelight” concert series at Carnegie Music Hall…

The program Alexandra Loutsion chose, titled “Greek Love – A Celebration of Human Connection,” was timely, broad in compass, and offered a generous and varied assortment of operatic scenes, show tunes, pop and art songs, sung in English, Italian, French, German and, of course, Greek. The groupings were given Greek titles for the various forms of human love and connection, such as storge (affection), philia (friendship), philautia (love of self), eros (passionate love), and so on, and the pieces selected for each group for the most part fit nicely into their designated categories. The moods of the various pieces were excellently conveyed by the singer, whether the music called for drama, pathos or comedy – the last ranging from lighthearted whimsy to full-blown slapstick.

Those who have heard Ms. Loutsion locally in opera performances need no description of her vocal talents. Her voice is a large and brilliant soprano of wide range, solid and well supported throughout, and her tones can soar or float to the last seat in any sized auditorium. She displays a keen sense of the importance of legato, and excellent breath control allows her to make the most of this in her phrasing. While she is capable of reining in the power and volume of her voice to accommodate the requirements of a pop song or show tune, it is in opera that she is clearly most at home, and it was the operatic excerpts that drew from the audience the highest points of enthusiasm.

She began the program with a fitting “Prologue,” Reynaldo Hahn’s exquisite “D’une Prison.”…After some warm words to the audience, her face aglow with a genuine and endearing smile, Ms. Loutsion sang her first group, “Storge”/Affection” – Leslie Adams’ “Lullaby Eternal,” Paul Simon’s “America,” Hugo Wolf’s setting of Goethe’s “Kennst du das Land,” and “Santo di patria,” from Verdi’s Attila. While the Wolf song was sung with an almost operatic intensity, the Attila aria was brilliantly sung, and the first big thrill of the evening ran over the audience.

Alone under “Philia”/Friendship” was Stephen Schwartz’s “For Good,” from Wicked, sung quite charmingly, and then the fun started with the group “Ludus”/Playful Love.” Erik Satie’s lovely “Je te veux” opened the group, and was one of the best sung numbers of the evening. Cole Porter’s “I’ve Got You Under My Skin” began innocently enough, but as the lyrics progressed, the singer began to leer and inch closer to Mark Trawka, the evening’s accompanist. As the pianist’s nervousness grew, so did the instability of his playing. The singer lunged for the bench and the accompanist made a break for it, leaving her seated at the piano – alone – to finish off the number.  When the laughter subsided she sang Charles Trenet’s “Le soleil et la lune.” The first part of the program then ended with two “Eros”/Passionate Love” numbers – Händel’s “Sussurate onde vezzose” from Amadigi di Gaula, and “Out of My Head,” a contemporary song by Michael Kooman and Christopher Dimond. Both…were sung with beauty and finesse.

After the intermission, Ms. Loutsion and Mr. Trawka returned and gave the “Pragma/Committed Love” group, an assortment of numbers that made for very odd bedfellows indeed. “Black is the Color,” from Luciano Berio’s “Folk Songs,” and Napoleon Lambelet’s “Separation,” sung in Greek, were followed by Joni Mitchell’s “A Case of You.” The last, probably the best sung pop song of the evening, launched into the title character’s recognition of her brother in Elektra…The scene is one of possibly two “lyrical” moments from the entire music-drama, and Ms. Loutsion sang the wrenchingly exquisite plea to Orestes with a gleaming opulence that was so overwhelmingly beautiful that one quickly forgot its odd position on the program.

For the “Agápe/Love For Humanity” group, Ms. Loutsion chose Samaras’ “Spring” and Spathis’ “Remember!” both sung in Greek, and Messiaen’s “Prière exaucée.” All three had a charm which the singer conveyed very effectively. “Philautia/Self-Love” brought forth “Last Night the Rain Spoke to Me,” from Laitman and Oliver’s Early Snow, and the “Epilogue,” “Being Alive,” from Sondheim’s Company, brought the program to a close. The singer and accompanist were showered with applause and roses, and for an encore gave “Love is Always Lovely in the End,” from The Drowsy Chaperone, which allowed for some charming banter between the two artists.” -George B. Paros, Pittsburgh in the Round

Kayla, Taking Up Serpents Chicago Opera Theater 2021

“Making her COT debut Alexandra Loutsion is possessed of a big gleaming voice, flexible throughout its range and able to tackle the opera’s climatic high notes with no evident strain. Dramatically, Loutsion’s acting was capable…she brought fiery commitment to the story’s emotional peaks.” -Lawrence A. Johnson, Chicago Classical Review

“The voices and explosive acting of the production’s three principals is uniformly outstanding, with notably knockout scenes between the young Kayla [Loutsion] and her father, and between Kayla and her mother at Daddy’s deathbed.” -Hedy Weiss, WTTW News

“As Kayla, Alexandra Loutsion displayed an ample, communicative soprano distinguished with impressive security above the staff.” -Mark Thomas Ketterson, Opera News

Turandot, Turandot Palm Beach Opera 2020

“But it was Alexandra Loutsion’s sumptuous-voiced, many-faceted delivery of the title character that remains most vivid, months after the actual performance. Loutsion’s ice princess transcended clichés, imparting an unexpected touch of warmth and vulnerability. Terrifying in her phrases of cruelty, she moderated her sound to express tenderness and humanity beneath the heroine’s protective outer shell.” -Robert Croan, Palm Beach Daily News

“The title character, the ice princess, doesn’t appear until the middle of Act 2; but once she does, it’s a killer role, with sustained high vocal lines and the necessity to dominate by her sheer presence even when she’s not singing. The sumptuous-voiced, commanding Alexandra Loutsion filled the bill as Turandot in every way, soaring in sound and lending her character a unexpected touch of warmth and vulnerability. Terrifying in her phrases of cruelty, she moderated her sound to express tender affection, and she acted with her face and body language to convey subtle feelings beyond the words of the libretto. She was particularly moving in the last scene duet with Calaf, showing her character’s emotional transition in vocal color as well as physical gesture.” -Robert Croan, The Palm Beach Post

“The American soprano Alexandra Loutsion made an impressive Turandot. Less fierce in her initial scene than others in the role, she sang with tenderness and sorrow in “In questa reggia,” as she described the historical tragedy that led to her hobby of executing male suitors. Her voice was a forceful, well-focused instrument, particularly plush in the lower register. And the greater nuance in that first appearance made the character’s famously implausible change of heart in the last act slightly less unbelievable than usual…The final minutes of Turandot are famously problematic. Puccini died without completing the opera, leaving only sketches for the final scene between Calaf and Turandot. It was finished by the young composer Franco Alfano. And the action itself is puzzling, as Calaf continues to burn with love for the woman who just presided over the torture and suicide of his devoted slave. Meanwhile, Turandot experiences a 180-degree change of heart and falls in love with Calaf. But it was a pleasure to hear the voices of La Colla and Loutsion intertwine. And as Loutsion shed her glittering white robe for the plain one underneath, she — more plausibly than most in the role — underwent an emotional transformation, and her particularly luxuriant lower register helped express the newfound tenderness in her character.” David Fleshler, South Florida Classical Review

Florencia Grimaldi, Florencia en el Amazonas Pittsburgh Opera 2019

“In the title role, Alexandra Loutsion was every bit the prima donna, luxuriant in sound and grand in demeanor, but also with a touch of vulnerability in her sumptuous spinto timbre. Catán gives Florencia three extended solo moments, and she managed to project a different mood with each, soaring like a latter-day Ariadne in her final apotheosis. “-Robert Croan, Opera News

“As Florencia, Alexandra Loutsion was every inch the grand prima donna, soaring easily through the wonderful opportunities Catán has given the role, and looking majestic in several dazzling period costumes. Her voice is a solid column of silvery sound that she can swell to soar over the densest orchestration, or float as a delicate thread of tone that carries to the rafters no matter how softly she sings. The moving soliloquy in which Florencia must connect to her lost love in but spirit alone, and which brings the opera to its conclusion, was sung quite beautifully.” -George B. Parous, Pittsburgh in the Round

“Soprano Alexandra Loutsion as the great singer was convincingly larger-than-life…Ms. Loutsion’s final aria was rapturous, demonstrative of a mature, flexible voice and nuanced understanding of the role.” -Jeremy Reynolds, Pittsburgh Post-Gazette

“The role of Florencia Grimaldi is sung by Pittsburgh native, soprano Alexandra Loutsion. I have heard Ms. Loutsion in several performances now and her voice and vocals continue to impress…the lyricism of her transcendent love arias in the second act carried the day.” -OperaGene

Elektra, Elektra
Minnesota Opera 2019

“The title character – a role that requires the stamina of a runner and lungs of steel – alternates between Sabine Hogrefe and Alexandra Loutsion, both making their Minnesota Opera debuts. We saw Loutsion. She’s a powerful singer with a gorgeous voice.” -Pamela Espeland, MinnPost

Turandot, Turandot
New Orleans Opera 2018

“In the fiercely difficult title role soprano Alexandra Loutsion was in complete command throughout the evening.  A gleaming upper range, an ability to dominate the ensemble, and a rich middle and lower register made one sit up and take notice, particularly in a fearless “In questa reggia.” Both she and Pomeroy had great chemistry together on stage. Their passionate embrace at the opera’s conclusion was fully believable.” -George Dansker, Opera News

“Alexandra Loutsion, in the title role, doesn’t make a singing appearance until the second act, but when she does, it comes in grand style…Loutsion consistently delivered a convincing performance of what is considered to be one of the most vocally challenging roles in the soprano repertoire.” -Dean Shapiro, The New Orleans Advocate

Leonora, Il Trovatore
Central City Opera 2018

“This Trovatore was not just a treat for the eye: there was much to admire dramatically and vocally. Alexandra Loutsion deployed a powerful yet controlled soprano as Leonora, displaying exquisite phrasing and shading in “Tacea la notte,” then easily switching to coloratura lightness in the following cabaletta. Loutsion never flagged, caressing the sweetness and the killer high notes in “D'amor sull'ali rosee,” and confidently embracing the treacherous lower register during the multi-layered “Miserere.”-Marc Shulgold, Opera News

"As Leonora, soprano Alexandra Loutsion...provides another career-defining interpretation following that of “Tosca’s” title character...All four roles are more demanding than usual, leading to the oft-quoted quip from Enrico Caruso that all it takes for a successful performance of “Il trovatore” is the four greatest singers in the world.  These four are surely the best we could possibly hope for at a performance in Colorado or the entire western United States, not just at a tiny theater in the mountains."-Kelly Dean Hansen, Ph.D, Freelance Classical Music Writer

"As Leonora, Alexandra Loutsion has the power from top to bottom to handle one of the most difficult soprano roles in the repertoire. Her sound was most beautiful in softer passages...The fearsome coloratura was dispatched with surety and aplomb."-Peter Alexander, Sharps & Flatirons

"Lovely, full range soprano..."-Bob Bows, ColoradoDrama.com

"I’ve been waiting for two seasons to experience Central City Opera’s production of Verdi’s IL TROVATORE. Worth the wait on all counts, this is Grand Opera of true magnificence. The casting is sensational! For this opera CCO has brought back the outstanding cast of Tosca! Michael Mayes, who thrilled us as Scarpia, is Count Di Luna. Jonathan Burton, whose Cavardossi stunned, is Manrico, and Alexandra Loutsion , who dazzled us as Floria Tosca, has been cast as Leonora. Add to this the magnificent mezzo soprano of Lindsay Ammann as Azucena and Ashraf Sewailam’s profound basso as Ferrando, and you have a cast of dreams!"-David Marlowe, Marlowe's Musings

Turandot, Turandot
Tulsa Opera 2018

"But drama is what “Turandot” is really about — the battle of romantic wills between the seemingly implacable Turandot and the determined Calàf — and thanks to the robust, nuanced performances of Alexandra Loutsion and Jonathan Burton, this conflict is played out with superb singing and convincing emotion. Loutsion’s performance of Turandot’s introductory aria, “In questa reggia,” is masterful, perfectly paced from its quiet, almost hesitant opening to its soaring conclusion. Loutsion’s rich tone is matched with a remarkable flexibility that brings all the emotional colors of this music to the fore. She is equally effective in the Riddle scene, taking a fiendish pleasure in taunting someone who dares accept her challenge, crumpling in panic when he proves victorious. For a character repeatedly described as being “made of ice,” Loutsion brings a lot of fiery humanity to her portrayal."
- James D. Watts, Jr. Tulsa World

"As Turandot, Loutsion commands strong stage presence with the reserved, aloof qualities her character demands as a powerful and contemptuous princess. There is a sense of consistency in the vocal qualities of both Loutsion and Burton..."

- Glenda Rice Collins, Glenda Rice Collins

Tosca, Tosca
Wolf Trap Opera and National Symphony Orchestra 2017

"Alexandra Loutsion (in the title role)...her voice was clearly the most polished and powerful of the cast."
- Robert Battey, The Washington Post

"As the feisty singer Floria Tosca, Alexandra Loutsion initially sounded a bit chesty in the lower register but her soprano blossomed as the opera progressed. She sang with apt coy playfulness as she teased her lover Cavaradossi, and fretted convincingly while beset by the twisted demands of Baron Scarpia. Loutsion rose to the challenge of “Vissi d’arte” with her finest vocal moments. Singing with fragile tone, the aria came across as prayerful and confessional and showcased the full depth of the soprano’s abilities."
- Grace Jean, Washington Classical Review

Turandot, Turandot
Pittsburgh Opera 2017

"Soprano Alexandra Loutsion recently told the Post-Gazette that she wanted to explore Turandot’s softer side: what makes the ice queen so appealing to her suitors. In her debut in this fiendish role, she made a compelling case for that approach, depicting this character as someone who is vulnerable to her circumstances yet in control of her destiny. Ms. Loutsion...had a commanding presence, her voice soaring above the chorus in the second act. But she did not use that size for its own sake, bringing the same energy to softer phrases as she did to Turandot’s scorching riddles. By exposing Turandot’s sympathetic and assertive qualities, she deepened her portrayal of the character: It is Turandot who kisses Calaf in the final act, taking matters of the heart into her own hands...Overall...this was a triumphant role debut for Ms. Loutsion." - Elizabeth Bloom, Pittsburgh Post-Gazette

"Alexandra Loutsion, a former Resident Artist with the company, assumed the title role for the first time, and presented an imposing figure and a strong soprano voice quite capable of meeting the trying demands of the score...she sang and acted the role impressively." - George B. Parous, Pittsburgh in the Round

"The chief glory of this year’s show was the role debut of Alexandra Loutsion as the titular Chinese princess, a splendid fit in voice and temperament for this interesting young artist. An area native and alumna of the company’s young artist program, Loutsion has a luscious timbre, sizable though never overpowering. Her solid technique allowed her to sail through the most demanding lines of “In questa reggia” with no signs of strain or effort, and to inflect her words tellingly. She seemed quite comfortable on stage, even in an unusual twist, where the director had her initiate a passionate kiss in the final scene. In that same scene, her delivery of “Del primo pianto” gave new life and meaning to this most ungrateful, often omitted solo, composed not by Puccini himself but by the composer’s dutiful student, Franco Alfano." - Robert Croan, Opera News

Foreign Princess, Rusalka
Arizona Opera 2016

"Alexandra Loutsion was every inch the evil Foreign Princess and she sang with easily produced warm and resonant dramatic notes that made me wonder if she is a future Wagnerite." - Maria Nockin, Opera Today

"Other outstanding vocal performances included...soprano Alexandra Loutsion...She was a powerhouse and her comic chops were impressive; we hope to see her return to Arizona Opera real soon." - Cathalena E. Burch, Arizona Daily Star

"Also impressive was...Alexandra Loutsion as The Foreign Princess." - Chris Curcio, Curtain Up Phoenix

Tosca, Tosca
Central City Opera 2016

"Soprano Alexandra Loutsion, a 2010 Central City apprentice artist bursting with promise, offered an impassioned performance in the title role. She brought impressive power and dimension to her singing, handling the high notes and other vocal challenges with aplomb." - Kyle MacMillan, Opera News

"All three principals are outstanding, both in acting ability and singing. Soprano Alexandra Loutsion in her first Tosca runs the gamut of emotion from flirtatious and jealous with her lover to fear and submission to Scarpia, then elation upon freeing Cavaradossi and, finally, despair. She plays it very convincingly accompanied by a silvery voice, clear and strong. Her prayer “Vissi d’arte” (“I Lived for Art”) in Act II is emotionally stirring." - Claudia M. Carbone, Blasting News

"Alexandra Loutsion is making an auspicious role debut in the title role. She has a warm, round, plush sound, that has ample presence in all registers. Ms. Loutsion also has a secure, ringing high register that can ride the orchestra with impressive ease, but she can also scale back to regale us with meltingly beautiful sotto voce singing. Since there were some unorthodox elements to this character’s interpretation I will be interested to follow her development in the part....The thrilling, full-voiced sing of all three principals is laudable, applaudable, and admirable." - James Sohre, Opera Today

"Loutsion's performance is riveting. Every turn of emotion is believable and intense. Her singing is both forcefully stirring and piercingly beautiful. The famous Act II aria "Vissi d'arte" actually makes dramatic sense when sopranos such as Loutsion resist making it into an indulgent moment." - Kelly Dean Hansen, Boulder Daily Camera

"From the start, Burton's tenor and Loutsion's soprano, as well as Mayes' baritone are wide open, stunning us with their range, nuances of phrasing, and dramatic expression." - Bob Bows, Colorado Drama

"All principals deliver powerful performances in both singing and acting." - David Marlowe, Marlowe's Musings

"I have seen productions of this opera at the Met, at Lyric Opera of Chicago...and on and on. And I have to say that of all the times I have seen this opera I cannot remember ever experiencing a better acted performance...I was completely absorbed by their performance. Alexandra Loutsion was a wonderful Tosca with all kinds of character nuances. From her jealous outbursts to her simple and naïve religious convictions to her devotion to Cavaradosi to her terror of Scarpia - it was all here. And when she finally gets up the nerve to stab Scarpia to death at the end of act 2 her sobbing was so visceral and realistic I wondered if she was going to be able to sing the remainder of the act (she did, BTW). Her performance of the great famous aria Vissi d’arte was incredibly moving. Here was a woman whose faith had been destroyed and she was left with nothing but her own inner strength." - BlakesBlog

Cio-Cio San, Madama Butterfly
Wolf Trap Opera 2015

"Loutsion...has a lot to offer, starting with a rounded, rich voice and continuing with a sense of the character that blossomed in Act 2...There was some stasis in big moments, but a lot of ardor overall. Loutsion is a singer to watch..." - Anne Midgette, The Washington Post

"And we certainly do have some voices to watch! Alexandra Loutsion, as Cio-Cio San, has a really lovely voice. From when we first heard her, as she processed up from beneath the stage with her fellow geishas, that much was clear. She was particularly good at the gradual amplification of both volume and emotion, building up towards an unbearable climax in her celebrated aria, Un bel dì, in Act II. Yet she still kept something in reserve, as befits her character, until the moment where she realizes all is lost, when her singing should sound insane. Loutsion’s emotional and vocal range were pleasing." - Hilary Stroh, Bachtrack

Soprano soloist, Verdi Requiem
Santa Fe Symphony 2015

"Soprano Alexandra Loutsion is a former Santa Fe Opera apprentice who stood in readiness as the standby for the title roles in that company’s recent productions of Tosca and Fidelio, although the occasion did not arise for her to fill in for either. Her voice, which possessed spinto heft, boasted buttery richness in its high range and projected warmly in its low register even through Verdi’s plush orchestration. The Verdi opera whose music most resembles the Requiem is Aida, and one could easily imagine Loutsion sinking her claws into the demanding lead of that work." - James M. Keller, Pasatiempo

Donna Anna, Don Giovanni
North Carolina Opera 2015

"Soprano Alexandra Loutsion brought plenty of power to the role of the ravished daughter of the murdered Commendatore. It was beautifully controlled across its range and Loutsion used it with great intelligence." - William Thomas Walker, CVNC

"Alexandra Loutsion’s powerful soprano fills the auditorium with Donna Anna’s revengeful anger at Don Giovanni’s attempted seduction and his murder of her father." - Roy C. Dicks, The News & Observer

"The Donna Anna of Alexandra Loutsion was very much a lady of noble bearing, one whose grief and indignation were expressed in outpourings of darkly beautiful singing. In her opening scene in Act One, her singing of 'Non sperar, se non m'uccidi, ch'io ti laschi fuggir mai' was like flood waters tumbling over the top of a dam, her unflappability in rising repeatedly to top G signaling her suitability for the role. Duetting with Don Ottavio in 'Che giuramento, oh terror!' inspired Ms. Loutsion to singing of momentous intensity that grew even more compelling in the soprano’s singing of the accompagnato 'Don Ottavio, son morta!' and aria 'Or sai, chi l'onore rapire a me volse.' The aria’s repeated top As held no terrors for Ms. Loutsion...she had all of her part’s notes in the voice and knew it. Her vocal line in the masqueraders' trio took her to glistening top B♭s, and her flinty solidity on high lent her singing in the Act One finale formidable histrionic thrust. ‘Crudele? Ah no, mio bene!’ and ‘Non mi dir, bell'idol mio,’ Anna’s accompagnato and aria in Act Two, are feared by sopranos—or, rather, by sopranos who, unlike Ms. Loutsion, are not completely capable of singing them. The aria’s coloratura is difficult even for a singer of Ms. Loutsion’s gifts, but she conquered both the bravura writing and the profusion of top As and B♭s. Dramatically, the sincerity of the soprano’s acting was refreshing...there are few pleasures in opera greater than hearing a sizable voice like Ms. Loutsion’s in full cry in music as enthralling as Donna Anna’s." - Joseph Newsome, Voix Des Arts

"Soprano Alexandra Loutsion’s formidable Donna Anna effectively conveyed the character’s steadfastness in seeking revenge for her father’s murder. Her “Or sai chi l’onore” and “Non mi dir” were models of vocal coloration and emotional commitment, fulfilling every coloratura requirement called for. A full-throated performer, Loutsion, in looks and voice, reminded one of a young Angela Meade, which is a backdoor way of saying that a career in early Verdi and bel canto is right around the corner, with Puccini and Strauss waiting in the wings. Her acting was above reproach and her moments with Don Ottavio turned into a heart-wrenching experience. Keep up the wonderful work" - Reviews by Josmar Lopes

Calisto, Daphnis and Chloe
Heartbeat Opera 2015

"Among the salacious Bacchantes...Alexandra Loutsion...was in especially powerful and lip-smacking form. I’d like to see her as Dalila, or perhaps Frank N. Furter."
- John Yohalem, parterre box

"The Bacchantes played by Tynan Davis, Kristin Gornstein, Molly Netter and Alexandra Loutsion were formidable and took the show by storm. They danced...and sang with a raunchy and devilish energy as they worshipped, schemed, seduced and stirred up trouble left and right. One could just not get enough of them…"
- Allegri con Fuoco

"The four Bacchantes were excellently sung and acted by Tynan Davis, Kristin Gornstein, Alexandra Loutsion and Molly Netter." 
- Meche Kroop, The Opera Insider

Spirit of the Land, The Purchase of Manhattan A Concert Opera
The Lenape Center NYC 2014

"In a concert premiere of an opera, The Purchase of Manhattan, by a Native American composer, Brent Michael Davids...I had the pleasure that keeps an opera lover coming back: The discovery of a remarkable young singer evidently ignored by the powers that be. Alexandra Loutsion easily filled the capacious hall with radiant sound, smoothly and evenly produced, deep enough to convince me she was a mezzo, unforced in higher registers. On her web site she lists many soprano roles. I would go anywhere in reason to hear her sing anything. She is the real deal, and it helped that Davids...knows how to write melody and to write for voice." - John Yohalem, parterre box

"The truly extraordinary singing of the evening came from a personified Spirit of the Land, an earth-mother figure, performed by Alexandra Loutsion. She filled the enormous room with gorgeous earth-mother sound, so deep and resonant that I thought her a contralto, then high (though the role is not written very high), flowering without a break or a seam...Not only is the voice beautifully colored and deeply moving, her words were so clear one did not need to consult the libretto, her consonants lashed with anger or molten with emotion... It was a delight to hear Loutsion early in what should be an exceptional career, and in music so gratefully written for her." - John Yohalem, parterre box

Marschallin, Der Rosenkavalier Act III
Hellenic Music Foundation Annual Opera Gala 2014

"The voices of Alexandra Loutsion as the Marschallin, Sharin Apostolou as Sophie and Courtney Bray as Octavian blended in perfect harmony and balance with each other and the orchestra in the concluding trio from that opera." - Greek News Online

Elvira, Ernani  Act II
The Santa Fe Opera Apprentice Showcase Scenes 2014

"The final scene of the evening was a riveting one--the scene in Verdi's Ernani in which the bandit Ernani (the superb tenor Joseph Dennis) comes to the castle of the nobleman Da Silva (the astonishing bass Patrick Guetti) to rescue his beloved Elvira (the equally astonishing soprano Alexandra Loutsion)...Everyone gets to enjoy Verdi's challenging vocal lines; no one failed the challenge" - Voce di meche

Almera, Dark Sisters
Pittsburgh Opera 2014

"The opera's other female characters were feelingly interpreted by the rest of the cast. As Almera, soprano Alexandra Loutsion had a voice that was dramatic and controlled, particularly during her duet with Eliza." - Pittsburgh Post-Gazette

"Alexandra Loutsion emphasized the sweetness and compassion of Almera." - Pittsburgh Tribune Review