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AUDIO SAMPLES

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“Being Alive,” Sondheim’s Company

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“Dies Bildnis,” Mozart’s Die Zauberflöte

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“Here I Stand,” Stravinsky’s The Rake’s Progress

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“Greenhorn’s Aria,” Heggie’s Moby Dick

“Being Alive,” Sondheim’s Company

“Dies Bildnis,” Mozart’s Die Zauberflöte

“Here I Stand,” Stravinsky’s The Rake’s Progress

“Greenhorn’s Aria,” Heggie’s Moby Dick

BACK TO SINGERS I OUR ARTISTS

Alexander Lewis

Tenor

With worldwide operatic engagements and acclaimed performances in musical theatre, Australian tenor Alexander Lewis is forging a unique career as a “cross-over” artist. He performed the role of John Wormley in the world première of Matthew Aucoin’s opera Crossing, inspired by Walt Whitman’s journals. Of his performance as the wounded young soldier, The New York Times hailed “The affecting young tenor Alexander Lewis brings cagey intensity to the role, singing by turns with flashes of defiance and pleading despair.” This season’s engagements include reprisals of Count Danilo in The Merry Widow with West Australian Opera and Opera Australia, John Wormley in a remounting of Crossing at Brooklyn Academy of Music in New York, and the title role of The Nose with Opera Australia and the Komische Oper Berlin.

Jul
2017

Jul-15
to
Jul-22
The Merry Widow
Count Danilo
West Australian Opera
Perth, Australia
Oct
2017

Oct-03
to
Oct-08
The Crossing
John Wormley
Brooklyn Academy of Music
New York, NY
Nov
2017

Nov-15
to
Nov-25
The Merry Widow
Count Danilo
Opera Australia
Melbourne, Australia
Dec
2017

Dec-31
to
Feb-03
The Merry Widow
Count Danilo
Opera Australia
Sydney, Australia
Feb
2018

Feb-21
to
Mar-03
The Nose
The Nose
Opera Australia
Sydney, Australia
Jun
2018

Jun-16
to
Jul-14
The Nose
Furious Man in the Cathedral / Eunuche / Jaryschkin
Komische Oper Berlin
Berlin, Germany
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…powerful, crystal-clear voice…
 Stabat Mater “But Dvorák’s work gave the majority of the solos to tenor Alexander Lewis, who projected the full range of Mary’s emotions to his listeners through the traditional Latin text. The words of the ‘Stabat Mater’ convey the Catholic belief that all of Jesus’ disciples — but especially Mary — take part in his redemptive work by dedicating their own sufferings to him. Lewis displayed a powerful, crystal-clear voice in depicting ‘the grieving Mother’ in the first of the work’s 10 movements. He was equally sweet and plaintive in asking Mary during the sixth movement to ‘let me sincerely weep with you.” Omaha World Herald 
fresh and exciting ardor…
 Les contes d’Hoffmann  “When the Australian tenor Alexander Lewis took over in the Antonia episode, one wondered where he had been all night. A recent graduate of the Met’s Lindemann Young Artist Development Program, Lewis sang with fresh and exciting ardor over the course of the last two tales. It was a heady and, in the case of the Giulietta episode, sordidly sexual portrayal that combined lyric urgency with vocal purity and heft.” – Opera News 
…utterly convincing…
 Carousel  “Alexander Lewis was a captivating Enoch Snow – nerdy, awkward and urgent all at once. Whether strolling or fretting, wooing or crooning, he was utterly convincing.” Houston Chronicle  
…Lewis stole every scene…
 The Bartered Bride  “Lewis stole every scene, slicing crisply through the action in a trim little suit and spectacles and cavorting as if her were a singing, dancing Harold Loyd. His tenor- pleasantly light and moderately reedy- put across every syllable of J.D. McClatchy’s English-language translation.” – Opera News  
…tremendous performance…
 Sunday in the Park with George  “Alexander Lewis’ tremendous performance, as the pair of artists Georges Seurat and his great-grandson George, is all the more brilliant for the restraint he shows in portraying these private, highly focused men. It is a major showcase of a role that gives the performer little in the way of ‘showy’ business to perform. If Georges were alive today, he may have been diagnosed somewhere on the Asperger’s spectrum, such were his difficulties in reading social cues and making connections with people. The charismatic Lewis neatly underplays this agitated energy, drawing the audience in to his performance. The knowing winks in “Putting it Together” are magnified by live video projection and Lewis works this like a pro. Best of all, Lewis’ singing is extraordinary, featuring a sumptuous tone and a rock-solid musicality that makes light work of the fiendish score.” – TheatrePeople 

With worldwide operatic engagements and acclaimed performances in musical theatre, Australian tenor Alexander Lewis is forging a unique career as a “cross-over” artist. He performed the role of John Wormley in the world première of Matthew Aucoin’s opera Crossing, inspired by Walt Whitman’s journals. Of his performance as the wounded young soldier, The New York Times hailed “The affecting young tenor Alexander Lewis brings cagey intensity to the role, singing by turns with flashes of defiance and pleading despair.” This season’s engagements include reprisals of Count Danilo in The Merry Widow with West Australian Opera and Opera Australia, John Wormley in a remounting of Crossing at Brooklyn Academy of Music in New York, and the title role of The Nose with Opera Australia and the Komische Oper Berlin.

Last season saw Mr. Lewis as Hoffmann in Les contes d’Hoffmann and Grisko in The Fair at Sorochyntsi in a return to Komische Oper Berlin, the title role in The Nose in his début with The Royal Opera House Covent Garden, the role of Count Danilo in The Merry Widow with West Australian Opera, and in a Christmas concert with Sydney Philharmonia. Additional recent opera engagements include the title role in Les contes d’Hoffmann in his European début at Komische Oper Berlin; multiple engagements with The Metropolitan Opera including the title role of The Nose, St. Brioche in The Merry Widow, Borsa in their contemporary production of Rigoletto, and productions of The Death of Klinghoffer and Die Fledermaus; his Washington National Opera début as Flask in Moby Dick; and Tamino in Die Zauberflöte with West Australian Opera

He completed The Metropolitan Opera’s Lindemann Young Artist Development Program, where highlights of his time there included Ferrando in The Met-Juilliard production of Così fan tutte, conducted by Alan Gilbert, and Vašek in The Met-Juilliard production of The Bartered Bride under the baton of Maestro James Levine.

He was praised for his performance as George in Sondheim’s Sunday in the Park with George for the Victorian Opera Company in Melbourne. “Alexander Lewis as the artist Georges Seurat brings a humanity, vulnerability and anguish to the role, as well as a flawless operatic tenor voice.” (TheatrePress Australia) Other musical appearances have included Anthony Hope in Sweeney Todd with Opera Australia, Frederick Barret in Titanic with Seabiscuit Productions, and Raoul and The Phantom in The Phantom of the Opera with The Really Useful Group.

In recent concert engagements, he sang the tenor solo in Dvořák’s Stabat Mater with Omaha Symphony, the role of Gerhard in H. K. Gruber’s Gloria: A Pig Tale in The New York Philharmonic’s inaugural Biennial Festival, and a series of recitals and concerts throughout Australia. Additional concert highlights include The Serenade for Tenor, Horn, and Strings at The Bangalow Music Festival, the Petite messe solenelle with The Philadelphia Chamber Music Society, The Met’s Summer Recital series, the Manchester Music Festival, and the role of Poisson in The Opera Orchestra of New York’s performance of Adriana Lecouvreur at Carnegie Hall.

He is a graduate of The Western Australian Academy of Performing Arts’s acclaimed Music Theatre Program and the Merola Opera Program in San Francisco where he performed Nemorino in L’elisir d’amore.

 

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