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 starts her 23/24 season with a role debut in Siegfried (Brünnhilde) with Virginia Opera followed by her debut at Lyric Opera of Kansas City for The Sound of Music (Mother Abbess). Other season highlights include a return to The Dallas Opera for Elektra (Overseer), her return to the roster of the Lyric Opera of Chicago to cover in Aida (title role) and her debut on the roster of Houston Grand Opera to cover in Parsifal (Kundry).
Last season highlights included Die Walküre (Brünnhilde) with Virginia Opera and Opera Santa Barbara, her house debuts at Washington National Opera for Elektra (Overseer) and Opera Idaho for Macbeth (Lady Macbeth), and a return to Pittsburgh Opera for Il trovatore (Leonora). On the concert stage, she appeared with Washington Concert Opera in Nabucco (Abigaille) and the Austin Symphony Orchestra of Minnesota for a solo recital and Wagner concert.
Recent performances include the Lyric Opera of Chicago to cover in Macbeth (Lady Macbeth), Austin Opera for Fidelio (Leonore), Bard College for Salome (title role), The Dallas Opera for Opera’s Greatest Hits!, and The Glimmerglass Festival for The Sound of Music (Mother Abbess). She also recently debuted at Chicago Opera Theater in Sankaram’s Taking Up Serpents (Kayla) and Lyric Opera of Chicago in Twilight Gods (Brünnhilde) as well as a solo recital at Pittsburgh Festival Opera. She made her role/house debut with Minnesota Opera in Elektra (title role), followed by a return to Pittsburgh Opera for Florencia en el Amazonas (title role) and Palm Beach Opera for Tosca (title role). She made her international debut with the Canadian Opera Company in Elektra (Overseer), returned to Central City Opera for Il trovatore (Leonora), debuted with New Orleans Opera in Turandot (title role), and San Francisco Opera for Elektra (Overseer) and Turandot (title role cover).
Puccini is a staple of Ms. Loutsion’s repertoire. In addition to singing Turandot with Pittsburgh Opera, Tulsa Opera, and New Orleans Opera, she has also brought her Tosca to Palm Beach Opera, Wolf Trap Opera, Sacramento Philharmonic & Opera, Fort Wayne Philharmonic, and Central City Opera, and Cio-Cio-San in Madama Butterfly to Palm Beach Opera, Wolf Trap Opera, and Opera on the James. Additional credits include Rusalka (Foreign Princess) with Arizona Opera, Florencia en el Amazonas (title role) with Arizona Opera, and Macbeth (Lady-in-Waiting) with the Chicago Symphony Orchestra under Riccardo Muti.
On the concert stage, Ms. Loutsion has sung the soprano solos in the Verdi Messa da Requiem with the Santa Fe Symphony and the Academy Chamber Orchestra of Pittsburgh and Beethoven Symphony No. 9 with the Cathedral Choral Society, West Virginia Symphony, Syracuse Symphoria, Erie Philharmonic, and as a guest soloist with the Ithaca College Chamber Orchestra. She recently debuted the soprano solos in the Hadyn Mass in Time of War with the Cathedral Choral Society of Washington D.C.
An advocate for living composers and contemporary works, Ms. Loutsion has given performances of Nico Muhly’s Dark Sisters (Almera) with Pittsburgh Opera, Ricky Ian Gordon’s Orpheus and Euridice (Euridice) at the Boston Court Performing Arts Center, Krausas’ The Mortal Thoughts of Lady Macbeth (Witch 3) with Vera Ikon Productions, and in the West Coast Premiere of Lowell Liebermann’s Miss Lonelyhearts (Fay Doyle).