King Arthur, Academy of Ancient Music

You almost forgive this, though, when you hear the radiant singing of soprano Louise Alder. Hers is a voice that combines gleaming tone and elegant phrasing with a sense of joyful freedom. THE FINANCIAL TIMES, Hannah Nepil, October 2017
In one of the most celebrated numbers of Purcell’s King Arthur, Fairest Isle, the singer — .. the beguiling soprano Louise Alder — bathes Britannia in compliments... Vocally, none was as stylish as Alder... THE TIMES, Neil Fisher, October 2017
Some numbers slotted easily into Evans’s conception, not least the climactic aria Fairest Isle, captivatingly sung by soprano Louise Alder as she stood on a chair next to Richard Egarr’s harpsichord. THE GUARDIAN, Erica Jeal, October 2017
Zerlina (Don Giovanni), Glyndebourne on Tour
Louise Alder, as easy on the eye as on the ear, gave exemplary accounts of 'Batti, batti', 'Vedrai carino' and her contribution to 'Là ci darem'. 
OPERA, Hugh Canning, November 2016
His relationship with Zerlina was the only one that had any chemistry and Louise Alder’s energetic assumption of the role did much to contribute to this. Her chirpy soprano was silkily deployed for a no holds barred seduction in “Batti, Batti”; her Zerlina knew exactly what she wanted and how to get it. BACHTRACK, Dominic Lowe, October 2016
Rock’s partnership with Louise Alder’s feisty, exceptionally well sung Zerlina yielded a performance of ‘Là ci darem la mano’ which approached very near perfection. 
MUSICOMH, Melanie Eskanazi, October 2016
Taken as a whole, this is the best cast I've yet heard in the Kent production... Louise Alder and Božidar Smiljanić a deliciously dysfunctional Zerlina and Masetto, both singing beautifully while she manipulates him and he traduces her, there is not a weak link. WHAT'SONSTAGE, Mark Valencia, October 2016
Lucia (The Rape of Lucretia), Glyndebourne Festival Opera
 

The singing is outstanding from all concerned: direct, clear, simple and devastating... Lucretia (Christine Rice), Bianca (Catherine Wyn-Rogers) and Lucia (Louise Alder) sing in sweet harmony. THE TIMES, Anna Picard, July 2015

 

Finely supported by Louise Alder’s precise Lucia. GUARDIAN, George Hall,  July 2015

 

A magnificent ensemble of singers could not be bettered... the subsidiary roles of Junius, Bianca and Lucia are strongly taken by Michael Sumuel, Catherine Wyn-Rogers and Louise Alder. TELEGRAPH, Rupert Christiansen,  July 2015

 

Louise Alder’s youthful, impetuous Lucia completed this outstanding ensemble cast. MUSICOMH.COM, Melanie Eskenazi,  July 2015

 

The voices of Christine Rice, Catherine Wyn-Rogers, Louise Alder and Duncan Rock are hauntingly beautiful. BACHTRACK.COM, David Karlin,  July 2015

Gala des Liedes, Musikverein Graz, Austria
Thomas Quasthoff, Helmut Deutsch, Louise Alder, Angelika Kirchschlager, Michael Schade, Andrè Schuen

 

Quasthoff charmant moderierte und damit die 28-jährige derzeit in Frankfurt engagierte Engländerin Louise Alder einführte, die an diesem Abend in Graz mit Benjamin Brittens aus fünf Liedern bestehenden Zyklus „On this Island“ nach Gedichten von Auden debütierte. Das sind in unseren Breiten selten gehörte Lieder mit fast opernhafter Emphase, die Louise Alder intensiv gestaltete. Sie nahm das Publikum mit ihrer warmen, klaren und koloraturensicheren Stimme sofort für sich ein. 

DER OPERNFREUND, Hermann Becke, April 2015

 

Die Engländerin Louise Alder glänzte mit jugendlichem, expansionsfähigem Sopran. KLEINE ZEITUNG, Ernst Naredi-Rainer, ​April 2015

Louise Alder and James Baillieu, Brighton Festival, UK
 

Louise Alder began with Gypsy songs by Schumann, one bright-voiced and the second beguilingly plaintive. This whole concert was full of delightful contrasts. Playful, passionate, world-weary, James Baillieu’s masterful programming could not have been more varied or enchanting, as in the five Szymanowski songs and Panufnik’s wordless ‘Hommage à Chopin 1 & 2’ which were so beautifully haunting. Alder’s voice seemed to mature and grow in Schumann’s wistful Mignon-Lieder. Liszt’s Three Petrarch Sonnets demanded a vast emotional range from both performers and Alder’s top Ds were thrilling. The exuberant encore, ‘Love Went A‑Riding’ by Frank Bridge, made a stunning climax. THELATEST.CO.UK, Andrew Connal, May 2015

Louise Alder and John Paul Ekins, Wigmore Hall
 

There was no opera whatsoever on the programme. Most of the musicians were string players. So why did this performance - the last in Wigmore Hall's latest Park Lane Group Young Artists season - feel like a high-octane night at the opera? One reason: Louise Alder, a wonderful soprano and the concert's main attraction. Recently graduated from the Royal College of Music, this young singer oozes potential as an opera diva, and not just because of her vocal quality - seductive, pliable and calorific though it is. Alder is an unhibited actress, with a bewitching ability to get to the core of a text and embody it wholeheartedly. She knows how to hypnotise her audience.

FINANCIAL TIMES, Hannah Nepil, April 2014 

 

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch. Remarkably assured, and accompanied empathetically and imaginatively by pianist John Paul Ekins, Alder revealed an alluring voice characterised by lyrical charm and astonishing power, particularly at the top; and her vocal prowess was complemented by a sure sense of poetic meaning and musical poetry. OPERA TODAY, Clare Seymour, April 2014

 

Gabrielle (La Vie Parisienne), Royal College of Music, Britten Theatre
 

Balancing the excellent Bobinet and Gardefeu was the brilliant Gabrielle from Louise Alder. Her generous, focused soprano and big personality suited her disguise as an Austrian widow perfectly, and her yodelling aria sung in front of a huge projection of a cow's face, will stay with me for some time.

OPERA MAGAZINE, Peter Reed, August 2013

 

Louise Alder's voice immediately stood out as the Glovemaker, and then in her increasingly elaborate and show stealing scenes (including a superbly delivered yodel song) she distiguished herself as an immediately castable young singer. Her acting is fluent, her movement on stage very natural and her voice is beautifully produced - a shimmery ribbon of excellent legato which never stints on diction. CAPRICCIO MUSIC, July 2013

 

Clomiri (Imeneo), London Handel Festival, RCM, Britten Theatre
 

All the performances were outstanding and of a consistent quality. However perhaps half a head above the others for me was the other soprano, Louise Alder as Clomiri... In the case of this production of Imeneo, Miss Alder's performance of 'Se ricordar ten vuoi' was the finest example of true Handel singing I heard all night. Miss Alder has amastered the art of making ornamentation sound fluid, elegant and, above all, natural - when it is probably the most artificial aspect of the opera seria tradition... it was Miss Alder's comic timing which was for this critic pa excellence. OPERA BRITANNIA, Miranda Jackson, March 2013

 

But as so often in his operas of this type, the seconda donna - Louise Alder's sprightly teasing Clomiri - ran off with the show... reminding me of Lesley Garrett's ENO Atalanta (Serse) and Dalinda (Ariodante), and Camilla Tilling's Dorinda (Orlando) at Covent Garden. OPERA MAGAZINE, Hugh Canning, May 2013

 

PLG recital with Gary Matthewman, Purcell Room, Southbank Centre
 
But the evening belonged to Alder and Matthewman. Alder showed an uncanny ability to get beneath the skin of the musical poetry - whether in the winsome 'Love songs of Age' from Huw Watkins' Five Larkin Songs, the wit of Lord Berners' Three English Songs or the French-language languor of Matthews' delightfully retro Baudelaire settings. She even found something soulful and wondrous in Oliver Knussen's Whitman Settings. Alder is  radient performer and a composer's godsend.
FINANCIAL TIMES, Andrew Clark, January 2013
The performer who really commanded the stage in the first few days was soprano Louise Alder. Her voice
 reaches a startling focus and intensity at altitude, which she put to savagely ironic use in Huw Watkins' the setting of Philip Larkin's tart little verse entitled Money. Alder's emotional intelligence is her greatest asset, shining through in Lord Berner's Three English Songs, which could seem twee and faded, but didn't. And she struck a lovely tone of wide-eyed wonder in Matthew's delightful setting of Edward Thomas's Out in the Dark. THE TELEGRAPH, Ivan Hewitt, January 2013
There was also a seriously accomplished recital duo - soprano Louise Alder with pianist Gary Matthewman - who are clearly going places..
THE TELEGRAPH, Michael White, January 2013
 
Louise Alder and Gary Matthewman further confirmed the wise choice of artists that is a typical aspect of PLG's planning. Alder was a vibrant and confident narrator and Matthewman, as throughout, a tactful and sensitive accompanist but not lacking either in presence or character.. Louise Alder and Gary Matthewman , individually impressive, made a charismatic duo.​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​ CLASSICAL SOURCE, Colin Anderson, January 2013
 
No one's health seemed ruder on Monday than the soprano Louise Alder's. Hearing her top ringing register, I felt she could fuel a rocket ship to Mars.. you had to respect Alder's power; her acting too, as she expressed the words of every song in looks frivolous, brooding or glum. THE TIMES, Geoff Brown, January 2013