Susanna (The Marriage of Figaro), English National Opera
In an overdue house debut, Louise Alder was an irresistible Susanna, a beautifully judged mix of cartoon coquettishness and emotional depth.
Alder's Susanna is world-class, exquisitely phrased, beautifully sung, worthy to be mentioned in the same breath as an earlier ENO singer of this role, Lillian Watson, or Lucia Popp and Miah Persson at Covent Garden.
.. only Louise Alder as Susanna realises both vocal and emotional possibilities... Alder, .. is a dream Susanna, winning us over immediately with her confidential reactions, naturalnes and vocal warmth.
Louise Alder’s Susanna is impeccable, and absolutely gorgeous of voice. She has the lightness for ‘Aprite, presto aprite’ (as it is in the original Italian) and her exchanges with Figaro in the opening scenes were magnificent. Alder has real stage presence – having enjoyed her in multiple performances of Handel before now, it is clear her Mozart, too, shines.
Soprano Louise Alder gives a terrific performance as Susanna, the object of the Count’s lust. She is winningly streetwise and nobody’s fool. Not for nothing has Louise been heralded as “the brightest lyric soprano of the younger generation”. A fine actor and a superb singer she is one to watch.
Louise Alder’s Susanna is simply sublime. She nails the comedic mischief with a down-to-earth, no-nonsense realism that overcomes every directorial artifice. She’s pert and punchy, sometimes literally as Figaro finds to his peril, but also absolutely transcendent in Act 4’s ‘Deh vieni’: this aria was an absolute show-stopper.
Louise Alder is a magnetic Susanna, embodying the character’s sparky sense of charm
THE FINANCIAL TIMES - Hannah Nepilova
2010 - present
The quality of the singing, too, is well up to ENO’s best standards... ditto the sparky Susanna of Louise Alder – her last-act serenade simply sublime.
THE STAGE - George Hall
Louise Alder’s portrayal mingles wit and weariness, as is evident when she ends an occasional line with a word almost spat in indignation rather than sung. And she is a joy to watch, whether she’s slipping from the Count’s grasp or delivering a beautiful aria to Figaro when he suspects her fidelity. She proves the critical role of female agency in ‘rounding the play off nicely’.
Louise Alder made an outstanding ENO debut as Susanna. She sparkled in her witty and wily movements, driving the action of the opera far more that its titular protagonist (Susanna is clearly the brains of the operation); in recitatives hers was a thrilling realisation of the text. Vocally she was lithe and crystalline, every phrase sculpted with intelligence and insight. Her “Deh vieni, non-tardar” was a show-stopping moment of humane tenderness. Her complex Susanna cultivated a delicious frisson with Hanna Hipp’s grungy Cherubino.
Smiljanic was finely partnered by Louise Alder's poised and passionate Susanna. Quite serious when it came to her arias, Alder made Susanna a complex emotional figure, strong-minded with a sense of comedy, and a beautiful musical line. Her relationship with Smiljanic's Figaro was touching and, at times, funny but you felt this Susanna would often have the upper hand. Alder's voice has a richness to it so that in this soubrette role she did fill the Coliseum, and you felt the Countess (in a smaller house) beckoning.
PLANET HUGILL - Robert Hugill
Zerlina (Don Giovanni), Royal Opera House
.. Louise Alder, making her Covent Garden debut as an entrancing bright-voiced Zerlina. She should be asked back for all of Mozart’s soubrette parts.
THE SUNDAY TIMES - Hugh Canning
Louise Alder adds to her growing reputation with a radiantly sung and subtly acted Zerlina
THE TIMES - Richard Morrison
Soprano Louise Alder makes a notable Royal Opera House house debut as Zerlina... Louise Alder, the English soprano who walked off with the Audience Prize at the 2017 Cardiff Singer of the World, made Zerlina a feisty, flesh-and-blood character through her energetic stage presence and full-blooded singing. CULTURE WHISPER
Unusually prominent are the lower-class couple, with Louise Alder making light work of her two arias and teaming ideally with the easily outwitted Masetto of Leon Kosavic.
THE STAGE - George Hall
The trio of the Don's conquests is completed by young British soprano Louise Alder who is delightful in the role of the innocent Zerlina who comes close to being seduced away from her new husband on their wedding day. THE EXPRESS - William Hartston
Louise Alder is a notably good Zerlina. FINANCIAL TIMES - Richard Fairman
Louise Alder’s flighty Zerlina has winning charm. THE INDEPENDENT - Michael Church
Louise Alder also made an impression with her sweet-toned, crystal clear Zerlina, a delight in ‘Batti, batti, o bel Masetto’. BACHTRACK - Dominic Lowe
Louise Alder's Zerlina is a delight; by turns demure and duplicitous, she trills and colours with ease. LONDONIST- Holli-Mae Johnson
Louise Alder was a splendid Zerlina, fresh and delivering a lovely ‘Batti, batti’.
SEEN AND HEARD INTERNATIONAL - Colin Clarke
Semele, Monteverdi Choir and Orchestra
Appropriately, the star turn was Louise Alder’s sizzling Semele, tremendously sung, sexily bending notes to suggest impure thoughts. Her silky delivery of “Oh, Sleep, why dost thou leave me?” employed a balmy mezza voce and she and Richardot crushed and glided notes in their sisterly duet “Prepare then, ye immortal choir”. Borne aloft by a posse of male choristers – which beats taking the W3 down the Alexandra Park hill! – she sang a pouting, panting “With fond desiring”. I liked the way she played “Myself I shall adore” initially as self-mockery, but then fully succumbed to Juno’s mirror, almost swooning in narcissistic sighs. Her coloratura runs were exquisitely turned, especially in a spitfire “No, no, I'll take no less” as she demands that Jupiter appear to her in godly form, which leads to her ultimate destruction. Semele may well crash and burn, but Alder’s soaring soprano hit the vocal heights.
BACHTRACK - Mark Pullinger
Louise Alder was a glowing, unusually sympathetic Semele who sang an especially beautiful Oh Sleep, Why Dost Thou Leave Me?”
THE GUARDIAN - Erica Jeal
Unquestionably, though, the vocal honours belong to the chorus.. and to Alder, proving that she was robbed of the main award.. in the 2017 BBC Cardiff Singer of the World Competition. She inhabits every move and phrase with natural intensity and perfect instinct, manages to blend with Richardot in the Semele/Ino duet and goes along with Guthrie's best idea for a da capo aria, "Myself I shall adore," starting out with mockery of Juno-as-Ino's "take a look in the mirror" before succumbing. The climax of what has to be the early 18th century's most vivid dramatic sequence, "No, no, I'll take no less", is what you dream of in Handel - technically perfect fireworks, pure fire-breathing characterisation, as if Semele has actually gone mad in reaching too far.. What genius of Handel to give the lightning-blasted girl the bipolar opposite of this excess as Alder reduces the voice to a sliver of sound for the expiration.
THE ARTS DESK - David Nice
Pamina (Die Zauberflöte), Garsington Opera
Louise Alder’s singing as Pamina is unfailingly beautiful. THE INDEPENDANT, Michael Church, June 2018
Louise Alder’s flawlessly controlled Pamina... THE STAGE, George Hall, June 2018
Best of all, to my ears, is Louise Alder as Pamina. She is a rising star and you can easily see why. She sings with such apparent ease, grace and intelligence, and her acting is persuasive too. THE TIMES, Richard Morrison, June 2018
Alder’s Pamina approached him with compassion, and found a new shade of tone and meaning in each phrase of her ‘Ach, ich fühl’s’ (amazingly, she’s also in the middle of a run as Sophie in Der Rosenkavalier at Glyndebourne). THE SPECTATOR, Richard Bratby, June 2018
Louise Alder sang a commanding Pamina, her passionate, urgent “Ach, ich fühl’s” complete with soaring top notes. BACHTRACK, Mark Pullunder, June 2018
... there is excellent work by the cast, especially Louise Alder’s radiant Pamina. EXPRESS, Clare Colvin, June 2018
Recital with James Baillieu, Wigmore Hall
Superb young lyric soprano's voice only grows in breadth and beauty... Alder is an instinctive singing-actress - a natural recitalist.
THE ARTS DESK, Alexandra Coghlan, January 2018
Through Life and Love, Strauss Lieder debut CD with Joseph Middleton
Of all the new recordings I've heard this year, I'm not sure any has given such unalloyed pleasure as Louise Alder's debut recital: an irresistible Strauss programme sung with a beguiling twinkle in the eye, keen intelligence and a voice of sparkling beauty. GRAMOPHONE MAGAZINE, Hugo Shirley, December 2017
A popular choice for the audience prize at the 2017 BBC Cardiff Singer of the World and a superb Sophie in WNO’s recent Der Rosenkavalier, Louise Alder has captured hearts in Wales and beyond. This disc of Richard Strauss songs comes at just the right moment in her ascent towards stardom. It’s grouped under headings such as youth, longing, loss, release. Some of the nearly two dozen choices are familiar, such as Zueignung, which she sings with unusual and touching introversion and contemplation. All are sung with vivid narrative skill, rich in colour and detail, and with a stunning purity of tone on long notes (as in the “Ruhe” of Ruhe, meine Seele!).
THE GUARDIAN, Fiona Maddocks, July 2017
Semele (Semele), Orchestra of the Age of Enlightenment
As Semele, Louise Alder (winner of the audience prize in Cardiff this year) suggested that she might have carried off the whole competition had she sung one of Semele's show-stoppers, 'Myself I shall adore' or 'No, no, I'll take no less'. Her ravishing ability to tease and play with vocal decoration made her one of the role's most entrancing interpreters I have heard since Valerie Masterson at Covent Garden and Rosemary Joshua at ENO. What a lovely artist this young soprano is, ideally suited to Handel's sex-kittenish roles. OPERA, Hugh Canning, November 2017
Soprano Louise Alder was the unquestioned star of the Orchestra of the Age of Enlightenment’s performance... Louise Alder didn’t skimp on theatrics — head-tossing, flashing eyes, impatient sighs — but her singing was as tasteful and nuanced as the character she created was satisfyingly impudent; vain, but all too human.
THE TIMES, Neil Fischer, October 2017
Louise Alder could hardly have been more right. A bewitching young soprano, whose rise to success has deservedly been rapid, she embodied Semele’s coquettishness, impetuosity and vanity; few singers could make the lavish coloratura of “Myself I shall adore” sound quite so naughty. Equally, she captured her character’s vulnerability. It was fascinating to watch the complex play of emotions on Alder’s face, even between her entries. And it was a delight to hear those emotions expressed in a voice so radiant.
THE FINANCIAL TIMES, Hannah Nepil, October 2017
Oxford Lieder Festival Opening Gala, Orchestra of the Age of Enlightenment
... the rapt intensity and vivid emotional storytelling of soprano Louise Alder... Cherishing the text, narrating with eyes and breath as much as tone, Alder was a reminder that.... there’s nothing quite like a soprano singing Strauss for that swooning fix of late romantic ecstasy. THE SPECTATOR, Alexandra Coghlan, October 2017
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
The Mozartists, Wigmore Hall
Alder’s coloratura was lithe and luminous, flashing with gold and diamond; solo ascents were impressively relaxed, swooning gracefully at the top, and neat cadential trills were beguilingly echoed and enhanced by the two solo instrumentalists. OPERA TODAY, Claire Seymour, September 2017
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
Sophie (Der Rosenkavalier), Welsh National Opera
Sophie was sung by a young soprano whose career looks to follow a similarly stellar trajectory. Louise Alder’s sparkling soprano has great poise and assurance and her warm reception was richly deserved. THE GUARDIAN, Rian Evans, June 2017
Louise Alder’s Sophie sparkles from the start, in touchingly exaggerated spontaneity at the thought of marriage to never mind who, then vibrant emotion at the real possibility of Octavian. Her singing, effortlessly lyrical, would surely have sent the composer into raptures. THE ARTS DESK, Stephen Walsh, June 2017
British singers Louise Alder and Rebecca Evans both excelled as the loves in Octavian's life, representing the vernal and the autumnal respectively. Alder, recently crowned young singer of the year at the International Opera Awards, was a dream of a Sophie: a gawky, impressionable girl at first, then ever more gracious as her confidence grew.
WHAT'S ON STAGE, Mark Valencia, June 2017
For Louise Alder, named last month as best young singer in the 2017 International Opera awards, the role of Sophie was a gift. In addition to spirited, pristine singing, Alder made the part far more febrile and clever than usual, moving with enough restless energy to use up a week’s calories in an hour.
THE GUARDIAN, Fiona Maddocks, June 2017
Atalanta (Xerxes), Oper Frankfurt
Die resolute Louise Alder, die mit ihre Stimme alles kann, leckte Staccato ebenso wie rasante Koloraturen und eine tolle Schauspielerin überdies (Atalanta)
Elizabeth Sutphen und Louise Alder sind als Romilda und Atalanta ein verführerisch brillantes Paar ungleicher Schwestern. WIESBADENER KURIER, January 2017
... während Louise Alder als Atalanta mit ihrer Bühnenpräsenz den andern die Schau stiehlt. GIEßENER ALLGEMEINER, January 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
Il Delirio Amoroso, Dunedin Consort, Edinburgh International Festival
EIF 2016 has already boasted many successes, but the solo debut of soprano Louise Alder is a very special story indeed. Drafted in at a day's notice to replace the indisposed Danielle de Niese... the former Edinburgh University student grabbed her opportunity with both hands, winning an audience response to her first appearance that threatened to bring the recital to a standstill after just half an hour. HERALD SCOTALND, Keith Bruce, August 2016
Alder, still under 30, is a name assuredly on the up and one to keep a close eye on... With a voice that still has space to bloom in colouring and to fill out even further in the gorgeous rich tone at its core, Alder's technique is even now secure enough to scale Handel's endless runs with astonishing breath control and diction that allows every word to be heard, often more than once in Handel's regular repeats. THE SCOTSMAN, Carol Main, August 2016
Ilia (Idomeneo), Garsington Opera
I have heard no finer, no more moving Ilia than Louise Alder’s, taking its leave from words and music alike, and above all from the alchemic synthesis of the two.
OPERA TODAY, Mark Berry, June 2016
As Ilia, Louise Alder made each of her arias a wonderfully telling glimpse of the human heart. THE TIMES, Rebecca Franks, June 2016
Louise Alder's Ilia was terrific, fully up to the challenges of the role and singing with appealingly youthful but powerful tone. OPERA, Huge Shirley, August 2016
As Ilia, the fast-rising soprano Louise Alder sings sublimely – this is voice to listen out for at every opportunity. CULTURE WHISPER, Claudia Pritchard, June 2016
Economical but direct in every expressive gesture, radiant in lyric-soprano delivery, Alder - who's already one of the finest singers of the new generation - melts our hearts as she arranges peonies in a vase to match the woodwind's bucolic strains in "Se il padre perdei", where it's subtly suggested that Spence's Idomeneo may have fallen in love with her himself. THE ARTS DESK, David Nice, June 2016
Caitlin Hulcup’s Idamante, all adolescent awkwardness and intensity, overflows with ardour for his beloved Ilia, reciprocated with shy delight by Louise Alder. Dramatically it’s a near-perfect pairing, finding the youth and even the silliness in two lovers whose sophistication is only a veneer painted on by suffering. Vocally, too, from Hulcup’s impassioned ‘Non ho colpa’ to Alder’s ‘Zeffiretti lusinghieri’, defiant in its radiant beauty, these are exceptional performances that rise to the challenge of conductor Tobias Ringborg’s speeds and forward-thrusting musical momentum. THE SPECTATOR, Alexandra Coghlan, June 2016
The voices of Louise Alder (Ilia) and Caitlin Hulcup (Idamante) play off each other with graceful intensity. THE INDEPENENT, Michael Church, July 2016
Louise Alder's Ilia had a vulnerability which combined with a sense of inner strength, and a highly focused beauty of line. This was stylish singing of great beauty, yet full of passion and it is testament to Alder's skill that she gave us a sense of Ilia's inner life. PLANET HUGILL, Robert Hugill, June 2016
It certainly isn't difficult to care for this production's exceptionally affecting Ilia from Louise Alder, whose softly iridescent soprano constantly impresses. Her "Zefiretti" aria soared calmly across the pattering of rainstorms outside on a thoroughly wet night at Wormsley. BACHTRACK, Charlotte Valori, June 2016
Das Schlaue Füchslein/The Cunning Little Vixen, Oper Frankfurt
Louise Alders strahlender Füchslein-Sopran samt ihrem "Powergirl"-Spiel prägten den Abend. BR-KLASSIK.DE, Wolf-Dieter Peter, April 2016
Für die junge englische Sopranistin Louise Alder war die Partie des Füchsleins ein Debüt, das Fuchsrot des frechen Vamps stand ihr bestens. Ihr Sopran verfügt einfach über die richtige Frische, und er klingt trotzdem warm dabei. Und beweglich ist nicht nur ihre Stimme: Mit ihrem Fuchs-Partner Jenny Carlstedt balgte sich Louise Alder auf bestens balanciertem Grat zwischen human und animalisch. FRANKFURTER RUNDSCHAU, Stefan Schickhaus, April 2016
Cleopatra (Giulio Cesare in Egitto), Oper Frankfurt
Louise Alder proved an enchanting Cleopatra, alluring, seductive, despairing and singing with enviable heart and virtuosity for such a young artist. She's already one of the most polished lyric sopranos around and one eagerly awaits more Handel (and Mozart) assignments for her in the UK. OPERA MAGAZINE, Hugh Canning, June 2016
Gaststar Andreas Scholl, der Cäsar in Salzburg an der Seite Cecilia Bartolis gesungen hat, traf jetzt in Frankfurt im jungen Ensemblemitglied Louise Alder auf eine Cleopatra, die stimmlich und darstellerisch eine echte Wucht ist. Mit ihrem vielseitigen Sopran spannte sie als blutjunge Ptolemäer-Prinzessin spielerisch den Bogen von divenhaft erotisch, über teenagerhaft turtelnd bis hin zu dramatisch furios. Spektakulär, wie das überwältigte Publikum dieser Frau, die erst seit 18 Monaten dem Ensemble angehört, zu Füßen lag. FRANKFURTER NEUE PRESSE, Bettina Boyens, February 2016
Bis zur letzten sekunde taufrisch wirkt cleopatra. Louise Alder erobt in der Rolle der verfüherischen Pharaonin mit der Strahlkraft ihres Soprans und phantastischer szenischer Präsenz die Herzen des restlos begeisterten Publikums. FRANKFURTER ALLGEMEINEN ZEITUNG, Benedikt Stegemann, February 2016
Juliette Vermont (Der Graf von Luxemburg), Oper Frankfurt
Zum Geschehen gehört übrigens noch ein weiteres Paar in Gestalt von Renés Malerfreund Armand Brissard und dessen Partnerin Juliette, als die Simon Bode und Louise Alder die lyrischen Stärken des Frankfurter Ensembles einbringen. OP-ONLINE, Axel Zibulski, January 2016
Im Operetten-Mimischen mit ihrer schönen Stimme ganz aufgehend Louise Alder. FRANKFURTER RUNDSCHAU, Bernhard Uske, January 2016
Eurydice (Orpheus), The Royal Opera, Wanamaker Playhouse, The Globe
Louise Alder... turns in an incandescent, richly coloured and urgent performance, which confirms her as the brightest lyric soprano of the younger generation (fresh from covering Sophie in Glyndebourne’s Der Rosenkavalier and singing the role at the Proms, she joined the ensemble of Frankfurt Opera and has already performed major roles there). Her passacaglia-aria and death scene would have been outstanding in any opera, any production; how consummately, too, she handled the dream sequence – hauntingly staged – and the tragicomic scene in which Euridice refuses to have the fatal snake venom sucked out of her by Venus-backed Aristaeus.
THE ARTS DESK, David Nice, October 2015
Louise Alder's Eurydice - the focus of the story in Buti's rewriting - commanded and cajoled her beloved with all the tonal warmth and expressive range she had demonstrated in her unexpected Proms turn as Sophie in last year's Rosenkavalier, even in a role that denied her much use of her exciting upper register. She held the dramatic centre among all Warner's stage business, creating a much needed centre of gravity for this irrepressible show.
OPERA MAGAZINE, Alexandra Coghlan, January 2016
Best of all, though, was Louise Alder’s radiant Eurydice. To her dying lament she brought a pathos and stillness that, after the high jinx of the first act, came as quite a shock.
THE FINANCIAL TIMES, Hannah Nepil, October 2015
Louise Alder’s Eurydice is the pick of the singers for the sublime parts... She puts across Eurydice’s fidelity and despair in an engaging manner, helped by a sweet voice, spot-on intonation and well-turned phrasing. BACHTRACK, David Karlin, October 2015
Orpheus, though, puts her centre stage and gives Louise Alder the meatiest role of all - and she eats it up. Wonderfully passionate in her anger towards Aristeus... this committed singing actress is a special communicator as well as a radient soprano. Her death aria is deeply moving and transcends the indulgences of Christopher Cowell's translation. WHAT'S ON STAGE, Mark Valencia, October 2015
Louise Alder's stunning death as Eurydice. THE TIMES, Richard Morrison, October 2015
Louise Alder is a winning Eurydice. THE TELEGRAPH, Rupert Christiansen, October 2015
Alder showed both excellent breath control and musical intelligence in crafting the rolling vocal phrases, recognising the nuances that the small chromatic inflections can bring about, enriching the lines as they evolved. The contrast between the diminishing pianissimo vulnerability and the rhetoric outbursts in fear of death that marked Eurudice’s dying moments was incredibly touching. OPERA NEWS, Claire Seymour, October 2015
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
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
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
Silandra (L'Orontea), Oper Frankfurt
The Silandra of Louise Alder was a lusty, commanding presence. THE FINANCIAL TIMES, Rebecca Schmid, February 2015
Louise Alder beweist die weibliche Flatterhaftigkeit. Gesungen wird durchwegs toll. BILD FRANKFURT, Dr. Josepf Becker, February 2015
Als frühbarockes Buffo-Paar treiben es Silandra (Louise Alder, glockenklarer Koloratursopran) und Corindo (Matthias Rexroth, Altus mit kerniger Substanz) oft und gern, im Duett die süße Liebe besingend. OFFENBACH-POST, Klaus Ackermann, February 2015
Louise Alder, neu in Ensemble, hier als Silandra ein Ausbund an Naturlichkeit und Temperament. FRANKFURTER RUNDSCHAU, Stefan Schickhaus, February 2015
Louise Alder als Silandra für jeden Mann den richtigen Ton. BADISCHE NEUESTE NACHRICHTEN, February 2015
Das zweite Paar sind Matthias Rexroth mit sanftem Altus und Louise Alder mit flexiblem Sopran als Silandra, das nach wechselnden Beziehungen schließlich von Orontea verbandelt wird. GIEßENER ALLGEMEINE, Olga Lappo-Danilewski, February 2015
Liederabend with Björn Bürger and Helmut Deutsch, Oper Frankfurt
Die Wahl fiel auf zwei junge Sänger: auf die Sopranistin Louise Alder und auf den Bariton Björn Bürger. Alder ist seit dieser Saison neues Ensemblemitgelied der Oper Frankfurt und derzeit als Gretel in "Hänsel und Gretel" zu erleben... Sie wirkten lockerer, als manch erfahrener Kollege hier in der Vergangenheit. Beide trugen ihr Programm ohne Noten vor (und das bei der kurzen Vorbereitungszeit). Bei Alder bestach zudem die klare Aussprache bei den Liedern von Schumann und Strauss, ist sie doch eine gebürtige Britin (geboren in London)...
Louise Alder widmete sich mit ihrem kräftigen Sopran zunächst den vier Lieder Mignons aus Robert Schumanns Opus 98a (nach Goethes "Wilhelm Meister"), die sie mit einer etwas zu intensiven ariosen Note vortrug. Dem gegenübergestellt wurde, jetzt mit zarter, engelhafter Attitüde, die "Romance de Mignon" des Franzosen Henri Duparc. Mit vier Liedern von Richard Strauss beendete sie den ersten Teil. Das heitere "Schlechtes Wetter" passte ganz besonders zum gerade über Frankfurt gezogenen Herbststurm.
Alder beendete mit Franz Liszts frühen "Drei Sonette von Francesco Petrarca" den Abend (mit diesen beendete auch Stéphane Degout im Mai sein Liederabendprogramm). Hier stellte sie erneut ihre flexible und gut geführte Stimme eindrucksvoll und verführerisch vor. Viel und starken Applaus gab es schon zwischen den Liedgruppen und erst recht am Ende.
Die beiden gaben zwei Zugaben, die sie als Duett sagen: Robert Schumanns "Wenn ich ein Vöglein wär" (Op. 43, No. 1) und von Helmut Deutsch als Reminiszenz an ihre Heimat gewählte Lied "Spring Wind" von Eric Thiman. Bei den Zugaben nahm sich Bürger in Gentleman-Manier zurück und ließ Alder strahlen.
Markus Gründig, October 2014
Lisa (La Sonnambula), Oper Frankfurt
The high standard was maintained by Louise Alder's sparkling Lisa. OPERA, Nicholas Blanmont, May 2015
Die weiteren Partien sind hochkarätig besetzt. Louise Alder begeistert als Aminas Gegenspielerin Lisa mit klarem Sopran und sauberen Koloraturen. Ihre Kavatine "Tutto è gioia, tutto è festa" im ersten Akt, in der sie ihre nicht erwiderte Liebe zu Aminas Bräutigam Elvino beklagt, avanciert musikalisch zu einem weiteren Höhepunkt des Abends.
ONLINE MUSIK MAGAZIN, Thomas Molke, December 2014
Gretel (Hänsel und Gretel), Oper Frankfurt
Under the baton of its music director Sebastien Weigle, Oper Frankfurt fielded a more-or-less house cast around the delightful Gretel of Louise Alder... Their voices blended like Sophies and Octavians to come. OPERA MAGAZINE, Hugh Canning, March 2015
In der Premiere sangen Katharina Magiera den Hänsel und Louise Alder das Gretel: Letzere mit feiner, musikalisch geführter Stimme... immer lauchtender aufblühte.
FRANKFURTER ALLGEMEINE, Gerhard Rohde, October 2014
Louise Alder sang mit leuchtend klarer, verzückt betörender Stimme die Gretel. KLASSIK.COM, Barbara Röder, October 2014
Gretel (mit funkelndem und stets die notwendige Leichtigkeit bewahrenden Sopran: Louise Alder). KULTURFREAK.COM, Markus Gründig, October 2014
Louise Alders Gretel ist mal naiv, mal ängstlich, mal auftrumpfend. Beide sängerinnen porträtieren die Protagonisten in all ihren Facetten - und spielen hinreißend.
RHEIN-NECKAR-ZEITUNG, Bernd Zegowitz, October 2014
Nei panni di Gretel, il soprano Britannico Louise Alder, da quest anno in forza alla Oper Frankfurt, fornisce un interpretazione esemplare dei sentimenti di un adoloscente; voce morbida.. e una recitazione di notevole espressività. ARTEARTI.NET, Stefano L. Borgioli, October 2014
Ihre Gretel Louise Alder erweist sicht wieder als eine vielversprechende Sopranentdeckung der Frankfurt Oper. Ihr steht eine zuerst verhalten eingesetzte, süß timbrierte Stimme mit leichtem, angenehmen Vibrato zur Verfügung, die sie dann zusammen mit ihrem lässig quicken Spiel schön aufleuchten und in große Soprangirlande ausschwingen zu lassen vermag. DER NEUE MERKER, Friedeon Rosén, October 2014
Sophie (Der Rosenkavalier), Glyndebourne Festival Opera, BBC Proms
Alder confirmed that she's ready for top billing, with her delicate, floated "himmlische" on smelling the rose being one of the most memorable moments.
THE ARTS DESK, Kimon Daltas, July 2014
Louise Alder, standing in at short notice for Teodora Gheorghiu, was a sparkling Sophie who won all hearts. EVENING STANDARD, Barry Millington, July 2014
(Alder's) bright and well-supported soprano was a constant reward. THE GUARDIAN, Martin Kettle, July 2014
It was the Sophie of Louise Alder, one year out of the Royal College of Music, who made me sit up with her sweet soprano and singing top notes.
THE TIMES, Geoff Brown, July 2014
The evening's other substitute was just as strong. Although Louise Alder is at the other end of her career to Hawlata, she made a confident fist of Sophie (having understudied the role at Glyndebourne). Nerves of steel ensured that her intonation was secure and her silvery top notes bloomed gloriously.
BACHTRACK, Mark Pullinger, July 2014
Confident debut: Louise Alder's soaring, silver-toned stand-in Sophie a big success at tonite's Rosenkav Prom. TWITTER, Hugh Canning 2014
Strauss's formidable trio of women was completed by the Sophie of Louise Alder (a late replacement for Teodora Gheorghiu), with a warm, lyric soprano of great beauty, who brought much mischief to all the Act Two Ochs shenanigans. The three singers' Act Three 'Trio' fulfilled all those long-for expectations of Straussian soaring ecstasy.
CLASSICAL SOURCE, Peter Reed, July 2014
Two stand-ins stood out. Louise Alder, who covered the role of Sophie at Glyndebourne, sang radiantly and acted the kooky, feisty youngster superbly, a revelatory Proms debut from a true homegrown talent of whom we'll hear a good deal more in the future. She makes her full Glyndebourne debut next season and that's something to watch out for. WHAT'S ON STAGE, Simon Thomas, July 2014
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
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