“three Rhinemaidens begin the final act, and it surely is impossible to imagine a more blended, beautiful sound as the latter greet the sun. Alina Adamski, Alexandra Lowe and Angharad Lyddon did the honours, two of whom I have praised previously: I called Lowe ​‘one of the finest of the young generation of singers’ in an AAM concert in November 2023”

“Alexandra’s Jewel Song was fabulous.”

“Here in the role of Fiordiligi, the more earnest and oldest of the two sisters, Alexandra has continued her progress giving an adept and elegant performance together with first-rate stagecraft. Displaying such an agreeably warm voice in Fiordiligi’s much admired arias Come scoglio and Per pietà, both challenging and requiring a broad range, they were beautifully produced without strain.”

“Alexandra Lowe makes Fiordiligi a genuine innocent with purest, glowing sound to match”

“[Lowe] knows how to use vocal colour as an imaginative vehicle of expression. Her best moment is in Ravel’s Vocalise- étude en forme de habanera, in which she projects a wide, imaginative emotional range in a vocalise that’s literally beyond words…”

“In any case, the work’s central section was a nicely-rendered contrast, soprano Alexandra Lowe leading choir and orchestra through a gentle, circling meditation on various forms of melisma… Lowe and Benson together took the lead, guiding the music’s trajectory toward a place of hushed serenity. The symphony’s end became like a hymn, but one that had by now transcended its hitherto primary-coloured palette, hanging in the air as soft radiance.”

“Any reservations one might initially have had were brushed away by the soprano Alexandra Lowe’s commanding performance as Pierrot… Lowe took us on an unsettling psychological voyage from calm via hysteria to a reconciliation with self, characterizing each stage with dramatic precision, moving fluidly from the barely audible to a piercing scream, from the heightened speech of Sprechstimme to almost-song in the cathartic, bittersweet closing lament of homecoming. It was moving, powerful and utterly convincing.”

“The performance’s most outstanding vocal performance is delivered by the young Spanish-British soprano Alexandra Lowe in the role of Donna Elvira. Lowe has a wonderful voice and effortlessly and convincingly alternates between rage, passion and despair. See her while you can, because this lady is going to be sought after.”

“Alexandra Lowe met all these demands head on, never appeared fazed by any of the vocal acrobatics required of her and delivered a performance that was quite simply sensational…. This allowed us to focus solely on Lowe – first appearing as an androgynous Marlene Dietrich-type figure who slowly morphed into a glamorous, silver lamé dress wearing femme fatale – who 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. Indeed her acting and singing were indivisible from one another. And what a voice – 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 – so we can’t wait to see how her career develops.”

“It can be done coolly, detached, but here Almeida encouraged Alexandra Lowe into a powerful, no-holds-barred performance.”

“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; her body imploding from confident swagger to writhing turmoil as she drifts through the work’s sequence of increasingly deranged visions. I have rarely heard sprechstimme delivered so persuasively, either. She seems to make each slithering syllable mirror the poetry’s Freudian metaphors.”

“The three ladies, Alexandra Lowe, Hanna Hipp and Stephanie Wake-Edwards, are an excellently imperious trio”

“Alexandra Lowe is a lyric soprano who should be welcomed by opera houses all over the world.”

“In soprano Alexandra Lowe’s yearning performance, the flutterings of love and the burgeoning of nature were nicely blended. She has a lovely light soprano voice; in the duet from Mozart’s Cosi fan tutte, she nicely caught the change from despairing resistance to her wooer, to her final yielding.”

“Alexandra Lowe, another rising Jette Parker star, matched characterful singing with a deft comic touch as Musetta in La bohème.”

“Daphne, sung with a beguiling mix of feminine grace and withering fire by soprano Alexandra Lowe.”

“she sang with abundant warmth and generosity, maintaining an elegant poise in Rossini’s ​‘Willow Song’ and imbuing Mozart’s ​‘Mi tradi’ with full-blooded gusto”

“Alexandra Lowe was a vibrant yet touching Governess in the Tower Scene from The Turn of the Screw, articulating her anxiety finely.”

“Vocal highlights came from Alexandra Lowe as Elvira…every time Elvira came onstage, we were treated to scrumptious tone, engaging rubato and all the poignancy that the jilted Elvira oozes.”

“Alexandra Lowe (Donna Elvira)…for the power in her singing, her believable characterisation and a glorious ​‘Mi tradi’.”

“Alexandra Lowe (Fiordiligi) sang and acted in fine and confident style,”

“Alexandra Lowe as Fiordiligi sustained her tone quality and power throughout the piece, with a show-stopping ​‘Per pieta’ in the second act”

“Alexandra Lowe has the dramatic edge for ​‘Come scoglio’ and the emotional complexity for her ​‘Per pietà,’”

“Standout contributions come from soprano Alexandra Lowe as The Bride in the first story,”

“Alexandra Lowe stood out in the title role [of Theodora]: her diction is above reproach, and she made ​‘Angels, Ever Bright and Fair’ the show-stopper it was meant to be.”