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“Dies Bildnis,” Mozart’s Die Zauberflöte


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

“Dies Bildnis,” Mozart’s Die Zauberflöte

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


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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. Of his performance in Crossing, 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 seasons engagements include a return to Komische Oper Berlin as Hoffmann in Les contes d’Hoffmann and Grisko in The Fair at Sorochyntsi, 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 a Christmas concert with Sydney Philharmonia. Future seasons include a remounting of Crossing in various worldwide venues.

Jul
2016

Jul-09
Les contes d’Hoffman
Hoffman
Komische Oper Berlin
Berlin, Germany
Oct
2016

Oct-20
to
Nov-09
The Nose
The Nose
Royal Opera House Covent Garden
London, England
Dec
2016

Dec-09
to
Dec-10
Carols at the House
Tenor Soloist
Sydney Opera House
Sydney, Australia
Feb
2017

Feb-02
to
Apr-12
Les contes d’Hoffman
Hoffman
Komische Oper Berlin
Berlin, Germany
Apr
2017

Apr-02
to
May-12
The Fair at Sorochyntsi
Grisko
Komische Oper Berlin
Berlin, Germany
Jul
2017

Jul-15
to
Jul-22
The Merry Widow
Count Danilo
West Australian Opera
Perth, Australia
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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. Of his performance in Crossing, 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 seasons engagements include a return to Komische Oper Berlin as Hoffmann in Les contes d’Hoffmann and Grisko in The Fair at Sorochyntsi, 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 a Christmas concert with Sydney Philharmonia. Future seasons include a remounting of Crossing in various worldwide venues.

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; a return to his home country to West Australian Opera Company in Perth as Tamino in Die Zauberflöte; and the role of John Wormley in the world première of Matthew Aucoin’s opera Crossing, inspired by Walt Whitman’s journals.

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 2013, the Petite Messe Solenelle with The Philadelphia Chamber Music Society, The Met’s 2012 Summer Recital series, the 2012 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’ 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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