Turandot,  Pittsburgh Opera Photo Credit: David Bachman

Turandot, Pittsburgh Opera
Photo Credit: David Bachman



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

Soloist, Verdi Requiem (excerpts)
Hellenic Music Foundation Annual Opera Gala 2013

"Their voices matched well and all of them delivered a powerful but also poignant performance against the full orchestra and chorus...Soprano Alexandra Loutsion ascended effortlessly to the high-C which was the culmination of the ensemble." - Greek News Online

Berta, Barber of Seville
Central City Opera 2013

"Alexandra Loution's bounteous [soprano] gave much pleasure and contributed substantially to the ensembles. Given an unusual amount of stage time, Ms. Loutsion relished the opportunity and she landed every recurring sneeze gag with precise timing. There is a velvety richness and refinement in her voice that made Il vecchiotto cerca moglie a real pleasure (rather than the more usual audience endurance test as a character mezzo "acts" her way through it in the late autumn of a career)." - James Sohre, Opera Today

"Alexandra Loutsion gives a strong vocal portrayal of Berta. One hopes to see and hear more of her work in future." - David Marlowe, Marlowe's Musings

"...soprano Alexandra Loutsion deserves warm appreciation for making the small role of Berta, Bartolo’s sneezing maidservant, extremely memorable. 
When she sang the character’s unexpected aria, Loutsion seemed grateful to Rossini." - Kelly Dean Hansen, Boulder Daily Camera

Anna Kennedy, Maria Stuarda
Washington Concert Opera 2013

"On Sunday, the Washington Concert Opera offered something of a soprano showdown in the form of Donizetti's Maria Stuarda. In fact, it was a veritable Three Ages of Sopranohood...And hovering just outside the ropes was Alexandra Loutsion as the lady-in-waiting Anna, singing a little bitty role with a big, healthy-sounding voice." - The Washington Post

"Left alone for the duration of its second half, Ms. Jarman’s efforts gradually faded towards the chorus, and were further called out by the infrequent utterances from the red blooded Italianate voice of her confidant Anna, sung here by a baby spinto Alexandra Loutsion....
Finally, the already mentioned Alexandra Loutsion (who sang the tiny part of Anna) possessed a full figured Mediterranean sound we hope to hear again in the near future, and in more extensive assumptions." - the newoutpost

"a third fine soprano we hope to hear again soon, Alexandra Loutsion, as Mary's lady-in-waiting." - Ionarts

"It was truly a wonderful night even down to the tiny role performed by Ms. Loutsion who we need to keep our eyes on." - Online Review

Mother/Witch, Hänsel und Gretel
Pittsburgh Opera 2012

"Soprano Alexandra Loutsion sang both the mother and the witch. She superbly conveyed both aspects of the mother -- fearsome to her children when she returns to find their work undone, but fully dimensional with her husband when he returns at the end of the first act. Except that the siblings were so strong, Loutsion would have stolen the show with her bold characterization of the Witch, a masterful blend of vocal acting with stylized movement." - Pittsburgh Tribune Review

"In another effective transformation, Loutsion reappeared in the third act as the child-eating witch who inhabits the gingerbread house in the forest. She played up the comedy of her role with wonderful character and without succumbing to the all too common pitfall of overdoing it at the expense of the drama. The Witch is a complex character, as she must bring a lighthearted resolve to a role that ultimately portrays a vicious predator—one that in many versions of the story also represents the children's hostile feelings toward their mother's scolding. She did so beautifully." - OperaPulse

Click here for the preview with Mark Kanny of the Pittsburgh Tribune Review

Annina, La Traviata
Pittsburgh Opera 2011

"...the Annina of Alexandra Loutsion stood out for her juicy soprano sound and sympathetic delivery..." - Pittsburgh Post-Gazette

"Liam Moran and Alexandra Loutsion were strong points as Doctor Grenville and Annina." - Pittsburgh Tribune Review

"The third act finds Violetta on her death bed, accompanied by her maid, Annina, who was very well portrayed by Resident Artist Alexandra Loutsion and complemented Samuil's often statuesque acting with a warm compassion and sense of duty. Returning to the set of Violetta's home from the opening act, contrasting dramatic lighting created an almost mystical atmosphere to compliment Violetta's religious epiphanies and the distant sounds of the Mardi Gras celebration from the streets of Paris outside. Pittsburgh Opera alumnus Liam Moran provided an effective Doctor Grenvil as he tragically reveals that Violetta has but hours to live. Loutsion's simple reaction to this news yanked at my heart as she initiated drawing the thread of tragedy through the scene as observed by Violetta's inner circle. By the end, Loutsion, Powell, Varano and Samuil had me wrapped up as Alfredo tries to reconcile with his father and Violetta finally throws herself onto the bed, dying in a fit of ecstasy as she daydreams aloud of the life she and Alfredo might have had." - Opera Pulse

Soloist, Erie Phil Unplugged
Erie Philharmonic 2011

"Pittsburgh Opera soloist Alexandra Loutsion and her piano accompanist, James Lesniak, also wowed the crowd with Puccini and Strauss selections followed by musical theater favorites from 'Show Boat' and 'My Fair Lady'." - GoErie.com

Armida, Rinaldo
Pittsburgh Opera 2011

"Alexandra Loutsion (Armida) thrived on the demands her role makes in dramatic demeanor and vocal nuance." - Pittsburgh Tribune Review

"Alexandra Loutsion, a powerful and projecting Armida..." - Pittsburgh Post-Gazette

Click here for the preview with Mark Kanny of the Pittsburgh Tribune Review

Berta, The Barber of Seville
Pittsburgh Opera 2010

"Bartolo's housekeeper Berta was performed by Alexandra Loutsion, who is in her first year at Pittsburgh Opera Center. Loutsion employed her impressive control to create a memorable character." - Pittsburgh Tribune-Review

Rising Stars Concert
Pittsburgh Opera 2010

"Alexandra Loutsion...stayed with verismo, offering melodious favorites from Puccini's La Rondine and Catalani's La Wally, sung lyrically with just a touch of metal in the tone." - Pittsburgh Post Gazette

Third Witch, The Mortal Thoughts of Lady Macbeth
VeraIkon Productions, Los Angeles

"The three witch prophesies were delivered by speaking and singing sopranos Carmina Escobar, Alexandra Loutsion, and Kalean Ung, draped in ghostly white gauze as they emerged from canisters. The sopranos together produced a decidedly plummy coloration." - The Huffington Post

Isabella, Das Liebesverbot
USC Thornton Opera and Ring Festival LA

"Alexandra Loutsion, a promising young soprano who sings the key role of Isabella..." - Los Angeles Times

"The depth of talent in the cast was astonishing. Alexandra Loutsion is a dramatic coloratura to watch: Her portrayal of Isabella demonstrated this soprano's voice has the stamina, beauty and size for a main stage career." - Culture Spot LA

"Alexandra Loutsion brought conviction to the pivotal role of Isabella...[with] rich, near-spinto soprano..." - LA Opus

"Soprano Alexandra Loutsion sang the heroine Isabella...her voice was large enough to be heard easily over the orchestra and provided more than a few moments of great singing." - Out West Arts

"Isabella, played by Alexandra Loutsion...soars above the rest with a graceful, flawlessly powerful voice that fully embodies the balance between love and decadence. The complexity of Loutsion's singing sets a standard for the entire opera. She is able to sing with passionate pleading of a nun and still hint at the purity that guides her. Her presence commands respect, and her talent warrants it...Loutsion deserves the praise befitting a prima donna." - Daily Trojan

"A standout among those mature voices was the dramatic coloratura of Alexandra Loutsion, singing Isabella, the object of Friedrich's lust. An angry postulant, she is bent on saving her rakish and rather cowardly brother (condemned to death for impregnating his fiance) without sacrificing her own virtue." - USC Trojan Family Magazine

The Second Woman, The Dido Project
Sybarite 5, Time Warner Center, New York City

"Alexandra Loutsion, as the Second Woman, countered Ms. Gaissert's sober portrayal with a conspiratorial girlishness, and sang solidly as well." New York Times

"Alexandra Loutsion was winning as the Second Woman, a more important role than its generic name makes it sound; she did a beautiful job with the lovely aria 'Oft she visits this lone mountain'." Blog Critics Magazine

Brush Up Your Shakespeare Opera Buffs
Spring Showcase, Los Angeles

"I experienced one of the finest Opera Buffs Inc. Spring Performers Showcases to date. The singers were of the customary high caliber. [Loutsion gave] heartrending performance of "Salce! Salce!" from Otello...strong duet from Wagner's Das Liebesverbot." - Culture Spot LA

Anna Glawari, The Merry Widow
Ithaca College

"The widow Anna...is sung with great verve by Alexandra Loutsion...she gave a lovely rendition of "Vilia" in the second act." Ithaca Times