Hailed as "fearless" (Opera News) and “masterful” (Tulsa World) with a “commanding presence" (Pittsburgh Post-Gazette), Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic stage. Ms. Loutsion’s 2019-2020 season includes her role and company debut with Minnesota Opera singing the title role in Strauss’ Elektra, a return to Pittsburgh Opera singing the title role in Daniel Catan’s Florencia en el Amazonas, a debut with Austin Opera and return to Palm Beach Opera singing the title role in Puccini’s Turandot, and a debut with the Chicago Philharmonic performing excerpts from...
Alexandra Loutsion
Soprano
ManagersNathan Wentworth
Territory
Worldwide
Press Resources
“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 Parous, Pittsburgh in the Round, November 11, 2019 - Title role in 'Florencia en el Amazonas' at Pittsburgh Opera
“...a powerful singer with a gorgeous voice.”
Pamela Espeland, MinnPost, October 10, 2019 - Title role in 'Elektra' at Minnesota Opera
“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.”
Opera News, September 28, 2018 - Title role in 'Turandot' at New Orleans Opera
“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, November 2016 - Foreign Princess in 'Rusalka' at Arizona Opera
“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.”
James Sohre, Opera Today, July 20, 2016 - Title role in 'Tosca' at Central City Opera
“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, July 18, 2018 - Leonora in 'Il trovatore' at Central City
“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, Santa Fe New Mexican, May 22, 2015 - Verdi Requiem with the Santa Fe Symphony