Recital with Roger Vignoles
I've never heard Alder's silvery soprano sound fuller, with some gorgeous portamenti in Schilflied and filling the room with radiant sound in the climaxes of Die Nachtigall. She also showed an impressive acuity with the text, digging into the harmonies of Nacht in a way that made me wonder if Lulu might perhaps be in her future.... The best, though, was clearly saved for last, as Alder pouted her way onstage in a frilly apron and feather duster for a riotous account of Poulenc's "Non, monsieur mon mari" from Les Mamelles de Tirésias... Alder displayed a wicked sense of humour and some spectacular high notes, ably supported by Julien van Mellaerts as her husband and two helium-filled breasts that shimmied their way to Wigmore Hall's ceiling – surely a first for the illustrious venue.
BACHTRACK, Kevin W Ng, October 2020
Alder’s prodigious talents as an interpreter of German lied – scrupulous attention to the text, superb diction, and achingly beautiful phrasing were evident in every bar of Mendelssohn’s ‘Bergeslust’... But it was the extract from Poulenc’s surrealist opera ‘Les mamelles de Tirésias’... that brought together every aspect of Alder’s outstanding vocal and acting skills, showing why she is in such demand both on the concert platform and in the opera house. Replete with a pinny and a feather duster, she dispatched ‘Non, Monsieur, mon mari’... with intensity and humour, releasing a pair of helium filled breasts that gently floated to the ceiling.
MUSIC OMH, Keith McDonnell, October 2020
Recital with Joseph Middleton
In 55 minutes Alder sang impeccably in four languages, none of them English, and presented 21 songs, of which at least half I hadn’t heard before.
And the three-quarter cheer? Alder is a terrific talent, combining a big, lustrous voice with flawless intonation and keen intelligence. The way she adjusts her timbre to suit her texts, from a bleached purity to illustrate the fading roses at the end of Grieg’s Zur Rosenzeit to soubrettish warmth for the Offenbach-like gaiety of Tchaikovsky’s Serenade, is very classy indeed.
THE TIMES, Richard Morrison, January 2020
Recital with James Baillieu
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
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
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