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“Dies Bildnis,” Mozart’s Die Zauberflöte


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“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 The Bartered Bride, Opera News hailed “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.” He recently completed The Metropolitan Opera‘s Lindemann Young Artist Development Program. Highlights of his time there include Ferrando in The Met-Juilliard production of Così fan tutte, conducted by Alan Gilbert, Vašek in The Met-Juilliard production of The Bartered Bride under the baton of Maestro James Levine, and Borsa in The Met’s new contemporary Rat Pack-inspired setting of Rigoletto.

May
2015

May-29
to
Jun-06
Crossing
John Wormley
American Repertory Theater
Cambridge, MA
Oct
2015

Oct-14
to
Oct-18
Les contes d’Hoffman
Hoffman
Komische Oper Berlin
Berlin, Germany
Nov
2015

Nov-06
to
Nov-07
Dvořák’s Stabat Mater
Tenor Soloist
Omaha Symphony
Omaha, NE
Nov-27
Les contes d’Hoffman
Hoffman
Komische Oper Berlin
Berlin, Germany
Apr
2016

Apr-22
to
May-07
Carousel
Enoch Snow
Houston Grand Opera
Houston, TX
Jul
2016

Jul-01
to
Jul-09
Les contes d’Hoffman
Hoffman
Komische Oper Berlin
Berlin, Germany
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…elegant delivery and memorable stage presence…
Crossing “Aucoin also pulls text from Whitman’s shorter poems (“Come, O lovely and soothing death/ Undulate round the world, serenely arriving, arriving”) and writes a lovely final aria for tenor Alexander Lewis, whose elegant delivery and memorable stage presence deliver the most intense moments of the opera” Experience at the a.r.t.  
…brought depth to the role…
Die Zauberflöt “That said, Alexander Lewis (as the young hero Tamino) brought depth to the role, with his gradual transition from scaredy-cat to initiated Freemason.”Sydney Morning Herald  
…sang sweetly…
 Gloria – A Pig Tale  “Tenor Alexander Lewis sang sweetly as the prince of Gloria’s dreams (really a farmer wearing a Prince t-shirt, complete with symbol).” – Opera News  
…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  
…a clear, light, and pliant voice…
 Così fan tutte  “Alexander Lewis, a lyric tenor with a clear, light and pliant voice, makes an aptly impetuous Ferrando.” – Opera News  
…sharp, articulated sound…
 The Nose  “Tenor Alexander Lewis made a short, but compelling appearance in the Nose’s brief vocal scene. Lewis possessed a sharp, articulated sound that fitted the Nose’s deliberate retorts with an appropriately mocking air.” – The Examiner  
…flawless operatic tenor voice…
 Sunday in the Park with George  “Alexander Lewis as the artist Georges Seurat brings a humanity, vulnerability and anguish to the role, as well as a flawless operatic tenor voice.” – Theaterpress.com.au
…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.” – Theaterpeople.com.au 
…just the right touch of mirth…
 The Nose – “As the personification of Kovalyov’s nose, tenor Alexander Lewis — a graduate of the Met’s successful Lindemann Young Artist Development Program — sang his one aria (for lack of a better term) with just the right touch of mirth.” Opera Today 

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 The Bartered Bride, Opera News hailed “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.”

This season, he makes his European début with Komische Oper Berlin in the title role of Les contes d’Hoffmann, débuts at Houston Grand Opera as Enoch Snow in Carousel, and sings the tenor solo in Dvořák’s Stabat Mater with Omaha Symphony.  In recent seasons, he sang the title role in The Nose, St. Brioche in The Merry Widow, and was engaged in productions of The Death of Klinghoffer and Die Fledermaus at The Metropolitan Opera; Flask in Moby Dick for his début with Washington National Opera; Tamino in Die Zauberflöte for the West Australian Opera Company in Perth; Gerhard in The New York Philharmonic’s inaugural Biennial Festival in HK Gruber’s Gloria: A Pig Tale; and sang the role of John Wormley in the world première of Matthew Aucoin’s opera Crossing, inspired by Walt Whitman’s journals. He also sang a series of recitals and concerts throughout his home country of Australia.

He recently completed The Metropolitan Opera‘s Lindemann Young Artist Development Program. Highlights of his time there include Ferrando in The Met-Juilliard production of Così fan tutte, conducted by Alan Gilbert, Vašek in The Met-Juilliard production of The Bartered Bride under the baton of Maestro James Levine, and Borsa in The Met’s new contemporary Rat Pack-inspired setting of Rigoletto.

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.

His 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 in 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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