alexandra lowe
Soprano
OPERA REVIEWS
LE NOZZE DI FIGARO — COUNTESS ALMAVIVA
Scottish Opera — 2026
“Alexandra Lowe delivers the cheated Countess’s solos with an aching, dignified lyricism, her velvet tones contrasting beautifully with Dodd’s bright soprano.” — The QR
“Alexandra Lowe delivers some of the evening’s most moving moments, and finest vocals, as the neglected Countess.” — North West End UK
“As the Countess, Alexandra Lowe is dignified in the face of her husband’s philandering.” — The Opera Critic
“The Countess, performed by Alexandra Lowe, delivered a solo that stopped the room.” — Strathclyde Telegraph
“Ava Dodd and Alexandra Lowe were another good on-stage match.” — Arts Reviews Edinburgh
“Lowe’s Countess is expansive.” — The Times
PIERROT LUNAIRE
Royal Ballet / Royal Opera House, Linbury Theatre — 2026
“The musical performance was first-class, with Alexandra Lowe a marvellously poised soloist.” — The Spectator
“This was especially true of soprano Alexandra Lowe, who almost – almost – made Schoenberg’s challenging music sound beautiful.” — Bachtrack
“Alexandra Lowe sang with astonishing clarity…” — Bachtrack
“The musical performance… [was] sung with bite by Alexandra Lowe.” — The Independent
“Alexandra Lowe delivers its abrasive croon-shriek…” — The Standard
“The rousing performance of soprano Alexandra Lowe was a significant highlight, singing with impressive confidence across an immense vocal range to express all the many emotional nuances in the music and poetry.” — Gramilano
“Alexandra Lowe sang with mellifluous lyricism and a haunting timbre, immaculate diction, and a brilliant, if subtle, Sprechstimme.” — London Unattached
A MIDSUMMER NIGHT’S DREAM — HELENA
Glyndebourne — 2025
“Alexandra Lowe’s sprightly soprano as Helena.” — BroadwayWorld
“Alexandra Lowe’s Helena is more assertive.” — Opera Today
“The love-crossed… [lovers] match their vocal talents with fine dramatic skills.” — The Latest
“The four lovers… delivered a cohesive, emotionally charged quartet.” — Mark Aspen
“Alexandra Lowe [sings Helena] with a warm-toned and beautifully controlled upper register.” — London Unattached
“Alexandra Lowe and Stephanie Wake-Edwards brought the long-simmering boarding school cage-fight to Helena and Hermia respectively.” — Bachtrack
COSÌ FAN TUTTE — FIORDILIGI
Opera North — 2024
“Alexandra Lowe is stunning as the naive yet almost steadfast Fiordiligi. Her voice is rich yet retains a lightness ideal for Mozart’s score.” — Manchester Theatres
“Alexandra has continued her progress giving an adept and elegant performance together with first-rate stagecraft.” — Seen and Heard International
“Alexandra Lowe’s portrayal of Fiordiligi is especially striking, navigating her character’s inner turmoil with grace and vulnerability.” — I Love Manchester
“Alexandra Lowe… had the theatre in rapturous applause after her lengthy aria, ‘Come scoglio’… Amazing.” — Tyke It To The Limit
“Alexandra Lowe makes Fiordiligi a genuine innocent with purest, glowing sound to match. Her vocal mastery and ability to impart character are equally apparent.” — The Arts Desk
“Alexandra Lowe was a terrific Fiordiligi, adapting her remarkably agile soprano precisely to each changing situation, constantly impressive.” — Bachtrack
“Alexandra Lowe brings purity and radiance to the role of Fiordiligi, the sister who struggles longest with her desires.” — British Theatre Guide
“Alexandra Lowe’s tortured struggle with temptation and guilt is the perfect summation of the second act.” — The Reviews Hub
DON GIOVANNI — DONNA ELVIRA
Glyndebourne — 2023
“Her bounding emotions give Lowe plenty of opportunity to display her coloratura skills, and the despair in her voice is palpable.” — Mark Aspen
“Alexandra Lowe was a commanding Donna Elvira.” — London Unattached
“Lowe by contrast gave us real despair and anguish in her tone.” — Bachtrack
“Alexandra Lowe makes a sympathetic Donna Elvira, fully encompassing the role’s wider emotional range.” — Opera Today
“Vocally resplendent was Alexandra Lowe… Her ‘Mi tradi’ was truly evocative, sung with a richness and attesting beauty.” — OperaWire
PIERROT LUNAIRE
Royal Opera House, Britten Sinfonia — 2022
“But it’s the second half where this show really comes into its own. Soprano Alexandra Lowe is Schoenberg’s moon-struck Pierrot – holding her audience through every shift of mood and character… Committing absolutely to each reinvention, from cabaret-performer to crawling animal, ballroom dancer and androgynous lover, Lowe gives us madness that’s never less than precise… The control of Lowe’s sprechstimme… is absolute: a carefully calibrated negotiation between speech and song.” — The Arts Desk
“Anchored by a stunningly assured and superbly expressive performance from the soprano Alexandra Lowe, Pierrot gripped me from first swoop to last. How well Lowe conveys that disintegration too… I have rarely heard sprechstimme delivered so persuasively, either.” — The Times
“Alexandra Lowe met all these demands head on… and delivered a performance that was quite simply sensational… [she] held the audience spellbound in a vice-like grip from the very first notes. Not only was her singing persuasive and high voltage throughout, but she also contorted her body to mirror Schoenberg’s constantly shifting musical textures… full and voluminous at the top, burnished towards the bottom, and all aligned to a rock solid technique. Based on this tour de force performance, she’s already a star.” — musicOMH
“Lowe gives a sensational, career-making performance here, pushing herself to her vocal limits to realise the expressive extremes of Schoenberg’s Sprechstimme.” — The Guardian
“With soprano Alexandra Lowe seizing all opportunities in a tour-de-force of vocal and physical variety carried off with boldness and elan.” — The Stage
“It can be done coolly, detached, but here Almeida encouraged Alexandra Lowe into a powerful, no-holds-barred performance.” — The Telegraph
DON GIOVANNI — DONNA ELVIRA
Kilden Opera — 2022
“The performance’s most outstanding vocal performance is delivered by… Alexandra Lowe in the role of Donna Elvira. Lowe has a wonderful voice and effortlessly and convincingly alternates between rage, passion and despair.” — NRK / Norway Post
DIE ZAUBERFLÖTE — ERSTE DAME
Royal Opera House — 2022
“Alexandra Lowe, Hanna Hipp and Stephanie Wake-Edwards made a distinguished trio of Ladies.” — Bachtrack
JETTE PARKER YOUNG ARTISTS SUMMER PERFORMANCE — MANON
Royal Opera House — 2022
“It was Alexandra Lowe… who impressed most, delivering an expansive, heartfelt ‘Adieu, notre petite table’.” — Seen and Heard International
DIE ZAUBERFLÖTE — ERSTE DAME
Royal Opera House — 2021
“The three ladies… are an excellently imperious trio.” — The Times
“Alexandra Lowe, Hanna Hipp and Stephanie Wake-Edwards made a distinguished trio of Ladies.” — Bachtrack
“Her formidable trio of Ladies, incisively sung and characterised by Alexandra Lowe, Hanna Hipp and Stephanie Wake-Edwards.” — Classical Source
JETTE PARKER YOUNG ARTISTS SUMMER PERFORMANCE
Royal Opera House — 2021
Alexandra Lowe — Thibault / Juliette / Nannetta
“Their performances as the famous star-crossed lovers could happily grace any major opera house, Zhuravskii's warm lyric tenor blending beautifully with Lowe's exquisitely silvery sound.” — Bachtrack
“Alexandra Lowe is a lyric soprano who should be welcomed by opera houses all over the world.” — The Arts Desk
“Alexandra Lowe proved with her playful Thibault (and later as Juliette) that she was one of the standout singing actors we saw and heard.” — Seen and Heard International
“Alexandra Lowe was a sheer delight as Nannetta.” — Seen and Heard International
“The women had the edge in togetherness at a fast pace… again Lowe and Manu nailed it.” — The Arts Desk
“Lowe… was always zesty and effervescent, and never wanted for power.” — musicOMH
APOLLO E DAFNE — DAFNE
Royal Opera House — 2020
“Alexandra Lowe… caught the eye and ear as a sweet-voiced Daphne.” — Seen and Heard International
“Daphne, sung with a beguiling mix of feminine grace and withering fire by soprano Alexandra Lowe.” — Bachtrack
“Lowe makes an exquisite, self-assured Dafne.” — The Guardian
LA BOHÈME — MUSETTA
Royal Opera House — 2020
“Alexandra Lowe… matched characterful singing with a deft comic touch as Musetta.” — The Times
“Alexandra Lowe’s exuberant, vibrant Musetta… relished her vivacity and daring… [she] stole the show.” — Opera Today
“Alexandra Lowe brought a little sass to Musetta.” — Seen and Heard International
CONCERT PERFORMANCE REVIEWS
SHÉHÉRAZADE — RAVEL
Armenian National Philharmonic Orchestra / Vasily Petrenko — 2026
“She sang these poems magnificently, easily overcoming all the technical difficulties of the composer’s style: the wide range of the vocal writing, cascades of coloratura passages. What impressed was the flawlessly pure intonation, the softness and evenness of the cantilena. A clear, fragile, childishly pure timbre, a kind of radiance of sound.” — Golos Armenii
“The singer captivated with the enchanting musicality and grace of her voice, its extraordinary melodiousness… the singing soul of the singer, filling every note with the tremor of overtones, with expressiveness of timbral colours.” — Golos Armenii
SIETE CANCIONES POPULARES ESPAÑOLAS / STABAT MATER
Barcelona Symphony Orchestra / Stephanie Childress — 2025
“Soprano with a widely projecting voice, with a beautiful middle register and clarity in the upper register. She sang El paño moruno with charm, brought her voice to an extreme delicacy in the Nana, and projected with firmness and security in the upper register the complex Polo.” — Scherzo
“A voice very much to be reckoned with for her technical rigour and expressive elegance.” — Scherzo
“Alexandra Lowe… lavished emotion, sensitivity and crystal-clear transparency in the high notes of the sublime Vidit Suum.” — Scherzo
“Alexandra Lowe… once again demonstrated her quality as a performer.” — Ritmo
THE MOZARTISTS — CADOGAN HALL
1775: A Retrospective — 2025
“Alexandra Lowe’s character, Nice, [stepped] forward from the text even in excerpted form. Her vibrato focused attention on the line rather than obscuring it.” — Seen and Heard International
“With splendidly expressive coloratura, this was rightly a performance on the grand scale.” — Seen and Heard International
“Lowe again showed herself a fine actress… Stillness and horror prior to ‘It is done’ said it all.” — Seen and Heard International
“Lowe gave the piece a magnificent grandeur and sense of the over-the-top.” — Planet Hugill
GÖTTERDÄMMERUNG — WELLGUNDE
London Philharmonic Orchestra / Vladimir Jurowski — 2024
“It is surely impossible to imagine a more blended, beautiful sound as the Rhinemaidens greet the sun.” — Seen and Heard International
“The Rhinemaidens were seductive and alluring.” — Opera Today
“The equally splendid Rhinemaidens, Alexandra Lowe, Alina Adamski and Angharad Lyddon…” — Bachtrack
THE FRENCH COLLECTION
Scottish Opera / Stuart Stratford — 2024
“Soprano Alexandra Lowe allowed her sparkling vocal acrobatics as Sophie to introduce a lighter hue.” — VoxCarnyx
“Kumar’s and Lowe’s big opening arias cemented the sexual tension from the outset, ardent and seductive.” — VoxCarnyx
“Alexandra’s ‘Jewel Song’ was fabulous.” — Edinburgh Music Review
“Their voices blended beautifully.” — Edinburgh Music Review
“The female twosome added… the ‘Flower Duet’ from Lakmé as a second-half encore… exquisite.” — Edinburgh Music Review
THE MOZARTISTS — WIGMORE HALL
17 January 2023 — Exsultate, jubilate
“The concert was also a showcase for Alexandra Lowe, an up-and-coming Spanish-born British soprano who is clearly a name to watch. Possessed of a luxurious and beautiful voice, she handled Exsultate, jubilate’s coloratura with easy mastery.” — The Times
“Lowe sang with intensity and expressiveness, secure in the chest voice…” — The Arts Desk
“Lowe’s lyric soprano has acquired surprising weight recently… with sustained beauty of tone in the slow aria of Exsultate, jubilate.” — The Arts Desk
“Lowe’s freshness of tone and phrasing… made this a good choice of showcase.” — The Arts Desk
ACADEMY OF ANCIENT MUSIC
Laurence Cummings — 2023
“Lowe… in a performance of virtuosity and vital energy… her low register is remarkably full, and there is no break at the top.” — Seen and Heard International
“Lowe’s rich voice imbued the music with a full palette of colour… a compelling performer of great musical intelligence.” — Seen and Heard International
ELEKTRA — FIFTH MAID
Orchestra dell’Accademia Nazionale di Santa Cecilia / Sir Antonio Pappano — 2022
“Among the maids, the fifth — Alexandra Lowe — stands out, great voice.” — Il Sole 24 Ore
“The five maids were excellent, providing unforgettable passages.” — Ape Musicale
“Brave also the five maids, including Alexandra Lowe.” — GBOpera