Marzelline (Fidelio), BBC Philharmonic, BBC Proms

​

What a pity Beethoven never composed an appendage to Fidelio called The Sorrows of Young Marzelline. One crucial moment apart, the music he gives to his second soprano in his only opera isn't his best, but Louise Alder so lived the role of the gaoler's daughter in love with a woman disguised as a man that everything else felt rather less intense. .. Her launch of the great canon-quartet "Mir ist so wunderbar" provided the one truly moving moment of the evening.

THE ARTS DESK, David Nice, July 2017

​

Louise Alder seems to have limitless stamina and a musical memory as cavernous as Florestan’s cell: following recent performances in the Cardiff Singer of the World Final, and as Sophie in WNO’s Der Rosenkavalier, at the RAH she brought Marzellina to life, and the contrast between her crystalline soprano and Merbeth’s plumper, darker voice was effective. OPERA TODAY, Claire Seymour, July 2017

​

​

Theodora, Arcangelo, BBC Proms 2018

​

Louise Alder, radiantly assertive, played the title role, meanwhile, opposite Iestyn Davies’s ardent Didymus, their voices blending perfectly in their final duet. 

The Guardian, Tim Ashley, September 2018

​

Soprano Louise Alder, currently experiencing a meteoric rise, suited the role of Theodora perfectly. There are no vocal fireworks in this role (hence not much room for flamboyant embellishment either) and instead one needs boundless lyricism, which Alder certainly has. “Angels, ever bright and fair”, which Theodora sings as she is captured by Roman soldier Septimius, was heartbreakingly beautiful... The two duets between the lovers were sublime and there was a rapturous silence in the audience as he and Alder poignantly and ardently sang their final duet.

Bachtrack, Nahoko Gotoh, September 2018

​

In the title-role, Louise Alder sang with unfailing poise and clarity

The Telegraph, Rupert Christiansen, September 2018

​

sublime singing... was provided by Louise Alder in the title role and Iestyn Davies as the Roman officer who inadvisedly loves her. Hearing this gloriously blossoming soprano and peerless countertenor entwined in Handel's heart-rending final duet brought tears to the eyes...

THE TIMES, Richard Morrison, September 2018

​

​

West Side Story, BBC Proms 2018

​

Louise Alder’s cameo in Somewhere was utterly ravishing.

BACHTRACK, Benjamin Poore, August 2018

​

The famous number ‘Somewhere’ was sung beautifully by Louise Alder

SEEN AND HEARD INTERNATIONAL, C Clarke, August 2018

​

And, while I was wondering why Louise Alder had been drafted in to sing ‘Somewhere’, she appeared in the organ loft and sang, literally, like an angel - and my unasked questions evaporated into the ether, extinguished by the pure luminosity of her soprano.

OPERA TODAY, Claire Seymour, August 2018

​

Louise Alder sang Somewhere with a breathtaking beauty of tone.

THE GUARDIAN, Tim Ashley, August 2018

​

​

Recital with Gary Matthewman, BBC Proms 2019

​

Alder is a natural ‘actor’, and she brought the varied contexts and protagonists of the lieder immediately to life... Best of all was ‘O lieb, so lang du lieben kannst’, in which natural simplicity gave way to more artful expression, as Alder’s beautiful soprano soared through the ever more impassioned arcs. Matthewman’s harmonies roved, breaking beyond the ordered confines of the opening of the song and pushing the voice towards impassioned declamation which overflowed with feeling, until, with wonderful control, soprano and pianist drew the emotions which had so richly flamed back within their hearts.

OPERA TODAY, Claire Seymour, August 2019

​