Soprano

Louise Alder

Winner of the Dame Joan Sutherland Audience Prize at the 2017 Cardiff Singer of the World Competition

Winner of the Young Singer Award at the 2017 International Opera Awards

© Gerard Collett

Introduction

Louise Alder studied at the Royal College of Music International Opera School where she was the inaugural Kiri Te Kanawa Scholar.

She is a member of Oper Frankfurt’s Ensemble where her roles in the 2017/18 season include Sophie Werther and Despina Così fan tutte. She also returns to Garsington Opera as Pamina in a new production of Die Zauberflöte  and to the Glyndebourne Festival as Sophie Der Rosenkavalier.

On the concert platform she sings the title role in Handel’s Semele in London and Vienna with the OAE and Ivor Bolton; Mendelssohn’s Lobgesang with the Royal Northern Sinfonia and Paul McCreesh; Rossini Arias with the Antwerp Symphony Orchestra and Richard Egarr; Handel’s Il delirio amoroso in Cologne with Arcangelo and Jonathan Cohen and Bach’s Johannes-Passion with the Royal Nothern Sinfonia and Harry Bicket.


Performance Schedule

Discography

 
  • STRAUSS 'Through Life and Love' More info  

    Label: Orchid Classics

    Release Date: 30 Jun 17

    Louise's debut recital disc

    Soprano: Louise Alder
    Piano: Joseph Middleton

  • CESTI 'L'Orontea' More info  

    Label: OEHMS Classics

    Release Date: 03 May 17

    Recorded live at Oper Frankfurt

    Orontea: Paula Murrihy
    Creonte: Sebastian Geyer
    Tibrino/Amore: Juanita Lascarro
    Aristea: Guy de Mey
    Alidoro: Xavier Sabata
    Gelonte: Simon Bailey
    Corindo: Matthias Rexroth
    Silandra: Louise Alder
    Giacinta: Kateryna Kasper
    Filosifia: Katharina Magiera

    Frankcurter Opern- und Museumsorchester/Ivor Bolton

  • BRITTEN 'The Rape of Lucretia' More info  

    Label: Opus Arte (DVD)

    Release Date: 29 Jul 16

    Fiona Shaw's production recorded live at the 2015 Glyndebourne Festival

    Lucretia: Christine Rice
    Male Chorus: Allan Clayton
    Female Chorus: Kate Royal
    Tarquinius: Duncan Rock
    Collatinus: Matthew Rose
    Junius: Michael Sumuel
    Bianca: Catherine Wyn-Rogers
    Lucia: Louise Alder
    Director: Fiona Shaw

    London Philharmonic Orchestra/Leo Hussain

  • 19 Oct 17 HANDEL Semele
    OAE/Rousset at the Royal Festival Hall
    More info  

    “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.”
    Hugh Canning, Opera, December 2017

    “Louise Alder is a star turn in Semele. If ever there were a Handel opera for an obsessively self-appraising younger generation, it would have to be Semele. Gazing into a handheld magic mirror, as though for a selfie, the eponymous princess, in her aria Myself I Would Adore, narcissistically sings her own praises. Louise Alder in this concert performance rose marvellously to the occasion, preening herself and emitting gasps of pleasure at her own beauty. Both here and in No, No, I’ll Take No Less, her phrasing was as sensual as her body language, with coquettish ornamentation enhancing a dazzling vocal line.”
    Barry Millington, Evening Standard, 19 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.”
    Hannah Nepil, The Financial Times, 19 October 2017

    “Soprano Louise Alder set a new benchmark for ‘Myself I shall adore’ – Semele’s ecstatic paean of self-love – by pouting, tossing her curls in the mirror, and emitting little squeaks of delight, while delivering her technically demanding coloratura with exquisite control: a comedian with a golden sound.”
    Michael Church, The Independent, 19 October 2017 

    “Louise Alder’s interpretation of the role was winningly warm-hearted and bright, with a light touch in her coloratura that made the character appealing and by no means overbearing, but recognisably human.”
    Curtis Rogers, Classical Source, 18 October 2017

  • 30 Jun 17 STRAUSS 'Through Life & Love' Debut Recital Disc
    Orchid Classics
    More info  

    “The winner of this year’s Cardiff Audience prize brings gleaming tone and excellent diction to Strauss’s lieder.”
    100 Best Albums of the Year, The Sunday Times, 03 December 2017

    “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. She’s brilliantly accompanied by Joseph Middleton.”
    Hugo Shirley, Gramophone (Pick of the Year), December 2017

    “Personal pride first: I was part of the Glyndebourne Study Day when Louise Alder made her professional Strauss debut, singing in the Presentation of the Rose and the Trio along with two other covers for Richard Jones’s production of Der Rosenkavalier. We’re lucky that Orchid Classics in conjunction with Benjamin Herbert Violins Ltd caught a lyric soprano so close to the beginning of her career. And they’re lucky too, that this coincided with her Audience Prize Award at the 2017 Cardiff Singers of the World Competition. Alder can do it all, and there already plenty of colours in the voice. Try one of the later Strauss Songs ‘Einerlei’, for bloom, range and soaring. And for long phrasing born of perfect breath control as well as secret rapture, ‘Waldeseligkeit’ is the one to sample. Joseph Middleton’s most delicate of pianissimos are a wonder, though he doesn’t always have to be so discreet – ‘Befreit’ could be bigger, and Alder makes it the climax of the disc. But these, and the slight wish that there were more of the Straussian strange here, like the Three Ophelia Songs, are small niggles given such a radiant debut.”
    David Nice, BBC Music Magazine, October 2017

    “This timely release is the debut album by the rising soprano widely tipped to win Cardiff Singer of the World this year — instead, she ran off with the Audience prize — after shining as Sophie von Faninal in Welsh National Opera’s recent Der Rosenkavalier. That Alder is a Strauss (and Mozart) soprano of rare gifts has been obvious for quite a while. Her radiant, silver-flecked-with-gold tone, long-breathed phrases and exquisitely floated high notes are a prerequisite for this repertoire, but she also has excellent German diction — a product, no doubt, of her work in Oper Frankfurt’s ensemble. Channelling Schumann’s Frauenliebe und -leben cycle, she divides her thematic programme into sections entitled Youth, Longing, Passions, Partnership, Motherhood, Loss and so on, but includes Strauss hits such as Nichts (Nothing), Meinem Kinde (To my child), Ruhe, meine Seele (Rest, my soul) and Zueignung (Dedication). To these she brings vivid interpretative qualities, aided by her superb pianist, who relishes the rippling arpeggios of Ständchen (Serenade). With experience, she will find more colour and inflection, but this is a remarkable debut.”
    Hugh Canning, The Sunday Times (Album of the Week), 16 July 2017

    “5***** 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…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!).”
    Fiona Maddocks, The Observer, 25 June 2017

    “Of the two UK finalists in BBC Cardiff Singer of the World last weekend, many felt the English soprano Louise Alder stood a better chance than the Scottish mezzo Catriona Morison. Alder commanded the stage with unfeigned confidence, a breeziness that shines through this, her well-timed debut recording. The repertoire is bold, as well. Songs by Richard Strauss are not for wallflowers. Everything has to be just-so, shimmering on the surface and hinting at Freudian urges below. Alder, who made an opera debut as Glyndebourne’s stand-in Sophie in Der Rosenkavalier in 2014, sounds undaunted by anything Strauss can throw at her. Accompanied a little cautiously by Joseph Middleton, she groups the songs in a kind of ages-of-woman cycle, going from youth to yearning, passion to loss. If brightness comes naturally to her voice, the darker colours of Sehnsucht and Allerseelen reveal a range of expression and a genuine virtuosity that promises great developments ahead. Above all, her voice is — unlike so many singers at the start of their journey — instantly likeable. It has a winning quality that makes us want her to succeed. An hour of Strauss can leave one feeling bloated. Ms Alder leaves you wanting more. At Cardiff, she won the audience vote. Ms Morison won the judges’ verdict. There cannot have been much in it. We will hear lots more of both.”
    Norman Lebrecht, Musical Toronto, 23 June 2017

    “Summer suddenly became very hot for soprano Louise Alder. A date change meant that she was juggling singing Sophie in Welsh National Opera’s production of Der Rosenkavalier with representing England in the Cardiff Singer of the World competition, followed this month by launching her debut recital recording Through Life and Love, on Orchid Classics. With a father who is a singer, a violinist mother and a fast-developing career of her own, she is used to tough performing schedules. Going into the recording studio was a more relaxed matter. ‘I was given completely free rein by Orchid Classics,’ she says, ‘[Pianist] Joe Middleton and I decided to go with Strauss because I feel such an affinity with his vocal writing. I have sung quite a few Strauss songs but Joe showed me loads more and I put them into a story of a woman’s live of love from youthful hope through motherhood and seduction to after a partner has died.’ Strauss also featured in her Singer of the World programme which originally was meant to follow her WNO run but actually occurred in the middle of it. As a teenager Alder was aiming to follow her mother’s example. ‘I really loved chamber music but I didn’t like practising, and if you want to be a violinist you really have to practise. As a singer you have to do lots of other things as well as practising.’ The turning point was studying with Patricia MacMahon at Edinburgh University, and she credits the 2014 Rosenkavalier performance at the Proms and joining Frankfurt Opera as giving her a solid stage grouding.”
    Classical Music Magazine, July 2017

    “Now Alder has come out of the blocks with an all-Strauss album, Through Life and Love. It suggests that the soprano won’t stay out of the spotlight on these shores for much longer. In an astute selection of lieder, Alder combines youthful sparkle with artless and affecting sincerity. It’s a shame that her label supplies none of the texts, because Alder teases out many lovely things from the German poetry, but she is such an empathetic performer that it’s not a deal-breaker. Riding a trend for more thematic programmes of German art-song, Alder and her equally accomplished accompanist, Joseph Middleton, chart an emotional journey from youth to love, motherhood to loss, closing with the theme of “release”, which includes two of Strauss’s most glorious numbers, Zueignung and Allerseelen. Alder’s voice floats beautifully over Middleton’s piano; the ideal Strauss voice perhaps has a lick more cream, but she finds wonderfully expressive range here, tease and wit in the more carefree numbers, melancholic poise when Strauss sets more anxiously existential verses.”
    Neil Fisher, The Times, 30 June 2017

    “Louise Alder has had a busy Summer, singing Sophie in Olivia Fuchs new production of Der Rosenkavalier at Welsh National Opera (see my review) whilst simultaneously taking part in BBC Cardiff Singer of the World (where where she took the Audience Prize), plus of course the release of this disc of Richard Strauss’s songs, accompanied by Joseph Middleton, on the Orchid Classics label. The songs selected come mainly from the 1890s, there are well known songs here such as Zueignung, Allerseelen and Heimliche Auufforderung along with many not so regularly performed. Louise Alder has very much a Sophie voice, a lyric soprano notable for its firmness of line, brightness and fluidity. In her introduction to the CD she talks about how she discovered Strauss’s songs, via Elisabeth Schwarzkopf’s recordings, at the age of 16 and that she jumped at the chance to record his songs for her debut disc. She sings with bright, forward tone and a lovely vibrant quality. This is combined with a deep feeling for the words so the songs really leap out at you. The songs are not recorded chronologically but thematically making a satisfying progress from Youth: Das Mädchen, through Longing: Sehnsucht, Passions: Leidenschaft, Partnership: Liebe and Motherhood: Mutterschaft to Loss: Verlust and Release: Befreiung. Throughout the songs I was impressed how Alder constantly combined the many lyrical beauties of her voice with vivid characterisation. words are always to the fore, as is a feeling for character and the distinctive tint of each song. Wisely she avoids the ones needing a more refulgent tone. There will be time to record those later. And what we get is an intelligent Sophie’s-eye view of the songs. That is not to say that the performances are cool, songs like Wie sollten wir geheim sie halten are full of vibrant energy whilst there is quiet rapture in Das Rosenband and Die Nacht. And Strauss’s more complex vocal lines, such as Muttertänderlei are given with an admirable sense of east. But it is the words that I come back to, the sense of great engagement which however never compromises the musical qualities of Alder’s line. Joseph Middleton is a superb partner bringing out the richness of Strauss’s piano writing, and aptly complementing Alder. Strauss’s accompaniments are very orchestral and Middleton really does explore their full range of colours and textures. I do hope that Louise Alder records more Strauss songs, but this recital makes an enchanting beginning.
    Robert Hugill, Planet Hugill, 29 June 2017

    “Elisabeth Schwarzkopf gab mit ihrer Aufnahme der „Vier letzten Lieder“ den entscheidenden Anstoß für wohl schon viele aufkeimende künstlerische und sonstige (musikalische) Liebesverhältnisse. Louise Alder war 16, als sie durch die geniale Strauss-Sängerin Schwarzkopf die Entdeckung machte, dass wohl kaum ein anderer Komponist eine ekstatischere und emotionalere Musik geschrieben hat. Youtube sei Dank, konnte sich die junge Britin die Rosenüberreichung und das Rosenkavalier Schlussduett anhören so oft sie wollte. 2014 war es dann soweit, das Cover Alder hat die Chance als Einspringerin beim Glyndebourne Festival gut genutzt – eine neue Sophie ward geboren. Was liegt daher näher, als dass sich die noch dazu blendend aussehende Louise Alder für ihr Debüt-Album Lieder von Richard Strauss gewünscht hat. Die aufstrebende Sängerin gruppiert hauptsächlich bekanntere Lieder, aber auch einige Raritäten rund um die Themen Mädchen, Sehnsucht, Leidenschaft, Liebe, Mutterschaft, Verlust und Befreiung. In den insgesamt 23 Liedern kann Alder all ihre musikalische Vorstellungskraft einbringen. Das Ensemblemitglied der Frankfurter Oper verfügt über eine immense Begabung zu narrativem Ausdruck. Da kommt es nur gelegen, dass sie sich im Liedgesang mit ihren frischen Stimmfarben gehörig austoben kann. Strauss kann gläsern, kühl-instrumental oder schwärmerisch, üppig, sinnlich gesungen werden. Alder gehört zweifelsohne zu letzterer Kategorie. Ihre Lust am Spiel mit dem Text, ihr Sinn für den ganz eigenen Humor des bayerischen Tonsetzers machen das Anhören genau so reizvoll wie die hohe Legato- und Klangkultur der Sängerin. Und da ist vor allem von der ersten Note an jene Leidenschaft, jene Unbedingtheit im Vortrag herauszuhören, die sofort aufhorchen lassen. Der Musikfreund lauscht dem Ständchen mit schlagendem Herzen, heimlich in Waldseligkeit zur Sehnsucht aufgefordert. Ach was Kummer, Qual und Schmerzen, breite ich über mein Haupt die Leidenschaft, wie sollten wir geheim sie halten? Das Rosenband schwebt in nachtgängigem Einerlei. Rote Rosen meinem Kinde. Die Nacht befreit zur Ruhe, meine Seele. Zueignung, Weihnachtsgefühl und Allerseelen hallen noch lange in des Genießenden Ohr. Joseph Middleton, Professor an der Royal Academy for Music, begleitet zupackend und detailreich. Von Louise Alder, die mittlerweile auch schon Glyndebourne, das Royal Opera House, die Proms und die Welsh National Opera erobert hat, werden wir sicher noch viel hören. Ihre Debüt-CD ist schon einmal ein großartiges Versprechen.”
    Dr. Ingobert Waltenberger, Der Neue Merker

  • 25 Jul 17 Recital with Gary Matthewman (piano)
    Wigmore Hall
    More info  

    “We anticipated a Ukrainian barihunk singing Tchaikovsky, but ended up with an English rose singing Strauss. “Travel problems” detained Andrei Bondarenko from making his Wigmore Hall recital, his place taken at very short notice by Louise Alder, whom I last saw here in February. During the intervening months, Alder has been busy: a deserved finalist in the BBC Cardiff Singer of the World, winning the Audience Prize; releasing her first solo recording; singing a divine Sophie in WNO’s Rosenkavalier. On Friday, she sang Marzelline at the Proms. Not a soprano to let the grass grow under her feet.

    Alder’s recital was rich and varied, without duplicating anything from her February programme. A French and Italian first half gave way to Strauss and Britten in the second. She has remarkable poise for such a young performer. Singing without scores, often resting her right hand on the piano, she has a confident platform manner, surveying the audience and seemingly making eye contact with each and every one of us. Her singing is assured too – silvery rather than peaches and cream, but flecked with steel to give her essentially lyric soprano real dramatic edge in this small venue.

    She was partnered by the excellent Gary Matthewman, originally scheduled for Bondarenko but a frequent Alder collaborator. It’s impossible to convey the sheer sense of enjoyment Matthewman expressed in this programme. He is more than just an attentive accompanist, relishing the virtuosic opportunities in Liszt’s Three Petrarch Sonnets, grinning impishly in Debussy’s naughty Au clair de la lune quotation in the introduction to Pierrot. I’ve rarely seen a pianist have such fun in a song recital.

    I could have listened to Alder sing Reynaldo Hahn all evening. Alas, we only had two numbers but her melting opening lines of À Chloris won me over immediately. Debussy’s Quatre chansons de jeunesse provided her with the chance to display humour in lighter, brighter fare, as did a couple of Poulenc songs where Alder kept up with a torrent of text. Her Italian is inflected by rather English vowels at present, but the Liszt songs displayed no holds barred drama, especially the weighty chest register for the line “mi spiace morte e vita” in Pace non trovo. The third song, I’vidi in terra angelici costumi (Sonnet 123), ended with Alder tapering her soprano down to a beautifully veiled tone, Matthewman’s postlude gloriously hushed.

    Richard Strauss’ sumptuous song repertoire fits Alder like a glove, from the three degrees of madness in the Ophelia songs to the comforting repose of Morgen, the latter the highlight of the entire evening, dreamily phrased (both soprano and pianist) and causing several dreamy sighs. Ständchen was bright-eyed and dewy-toned, Zueignung tender and sincere. Britten’s verbose On this island, to poetry by W.H. Auden, is a harder challenge to bring off, and diction sometimes slipped in the higher reaching passages. Nocturne came off best, its sinister undertones weighing heavily in the dark colouring of the closing stanza. The bittersweet comedy of George from William Bolcom’s Cabaret Songs made a fitting encore to this polished, wide-ranging recital.”
    Mark Pullinger, Bachtrack, 23 July 2017

  • 25 Jul 17 BEETHOVEN Fidelio
    BBC Philharmonic/Mena at the BBC Proms
    More info  

    “The other exceptional singers were the young lyric couple, Benjamin Hulett’s eager Jaquino and Louise Alder’s peachily sung Marzelline. Her Act I aria was an early highlight. Once craved more but Beethoven doesn’t oblige.”
    Hugh Canning, The Sunday Times, 30 July 2017

    “Thank heavens for more spark from Louise Alder (Marzelline), Benjamin Hulett (Jaquino)”
    Richard Morrison, The Times, 24 July 2017

    “Only the three not-so-long graduated young Brits in the cast offered perfection. Alder, having made her surprise Proms debut three years ago stepping in as the Glyndebourne cover Sophie in Der Rosenkavalier, has deservedly shot to fame since then, winning the Dame Joan Sutherland Audience Prize at the BBC 2017 Cardiff Singer of the World Competition, and she owns the stage. Her launch of the great canon-quartet “Mir ist so wunderbar” provided the one truly moving moment of the evening.”
    David Nice, The Arts Desk, 22 July 2017

  • 27 Jun 17 MONTEVERDI Vespro della beata Vergine
    Academy of Ancient Music/Robert Howarth,
    More info  

    “stunning soprano Louise Alder, whose operatic vivacity brought a wonderful dynamism”
    Olivia Bell, Bachtrack, 25 June 2017

  • 22 Jun 17 Cardiff Singer of the World Competition BBC National Orchestra of Wales/Thomas Søndergård
    St David's Hall
    More info  

    “If the prize were to have been awarded on the strength of stamina alone, then it would surely have gone to English soprano Louise Alder. As well as the two initial rounds that took her through earlier in the week, she sang in both finals, and was also on stage at Cardiff’s Millennium Centre on 10 and 17 June, performing the role of Sophie in Welsh National Opera’s Der Rosenkavalier. Alder did it all with polish, verve, style, fearlessness, personality and musical accomplishment. Shouldn’t that have been enough to win the prize? For those voting online, it was certainly enough for her to clinch the audience prize.”
    Rian Evans, The Guardian, 19 June 2017

    “The other singer to leave with a prize was Londoner Louise Alder, who picked up the Dame Joan Sutherland audience prize. Her quite unique programme gave us Bellini (I puritani), André Previn (A Streetcar Named Desire) and Léhar (Giuditta)….the Bellini she sang with great elegance in the smooth contours of her wonderfully fluid soprano. Her account of Meine Lippen, sie küssen so heiss was relatively tasteful while still squeezing a good deal of rubato licence from the music. Her apparently effortless closing top B was a joy, especially when one remembers that after competing in the Song Prize on Friday night she sang Sophie in WNO’s Rosenkavalier in Cardiff Bay in a remarkable feat of stamina.”
    Rohan Shotton, Bachtrack, 21 June 2017

  • 05 Jun 17 STRAUSS Der Rosenkavalier
    Welsh National Opera
    More info  

    “She captivates from the moment she runs on, infatuated, bespectacled, to meet her prospective bridegroom. Her voice is rich for an ingénue, silvered but plated with gold as she soars ecstatically through the high-lying Presentation of the Rose scene…”
    Hugh Canning, The Sunday Times, 11 June 2017

    “…the feisty acting of Louise Alder as Sophie. Alder made this an excellent company debut, the voice bright, silvery and supple.”
    Rian Evans, Opera, August 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.”
    Stephen Walsh, The Arts Desk, 13 June 2017

    “Louise Alder is joyous as an effervescent and intelligent Sophie”
    Rebecca Franks, The Times, 06 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. The young soprano’s voice has an expressive purity that augurs well for her forthcoming appearance at the Cardiff Singer of the World competition.”
    Mark Valencia, What’s on Stage, 05 June 2017

    “…a vocally outstanding Louise Alder…”
    Steph Power, Opera Now, July/August 2017

    “More arresting were the delicious Louise Alder as an adorably ardent Sophie and in particular Brindley Sherratt as a Baron Ochs quite brutally repellent in his spivvy venality but never caricatured and always crisply projected.”
    Rupert Christiansen, The Telegraph, 05 June 2017

    “…it felt appropriate that, with [Rebecca] Evans’s graceful assumption of the older woman’s role, 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.”
    Rian Evans, The Guardian, 05 June 2017

    “the virginal Sophie (a delightfully forthright Louise Alder)”
    Steph Power, The Stage, 05 June 2017

  • 18 Oct 16 MOZART Don Giovanni
    Glyndebourne on Tour
    More info  

    “Louise Alder’s energetic assumption of the role…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.”
    Dominic Lowe, Bachtrack, 17 October 2016 

    “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.”
    Mark Valencia, What’s on Stage, 26 October 2016 

    “[One of] the strongest characters here [is]  Louise Alder’s drama queen Zerlina.”
    Clare Colvin, Express, 30 October 2016

    “Louise Alder, as easy on the eye as on the ear, gave exemplary accounts of ‘Batti, batti’, ‘Vedrai carino’ and her contribution to ‘La ci darem’.”
    Hugh Canning, Opera, December 2016

    “Louise Alder was a suitably coquettish and charming Zerlina.”
    Curtis Rogers, Classical Source, 13 November 2016 

  • 18 Oct 16 BRITTEN The Rape of Lucretia
    Opus Arte (DVD)
    More info  

    “Louise Alder makes a strong impression as Lucia, her fresh, agile, radiant soprano a delight.”
    Christopher Ballantine, Opera, November 2016

  • 15 Aug 16 HANDEL Il delirio amoroso
    Dunedin Consort/John Butt at the Edinburgh Festival
    More info  

    “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 for an all-Handel programme with Scotland’s award-winning Dunedin Consort under the direction of Glasgow University’s Professor John Butt, 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. In fact the young singer adopted nearly all of the programme as advertised, her particular qualification being a familiarity with the composer’s rarely heard Opus 99 Il delirio amoroso which formed the second half of the concert. It was superb, her Italian diction and interaction with ensemble leader Huw Daniel and the other instrumentalists exemplary, but far-from-disappointed ticket-holders were already eating out of her hand by then. In her single bold repertoire change to the slightly re-ordered programme, Alder prefaced de Niese’s choice of Da Tempeste from Giulio Cesare with the aria Piangero la sorte mia (I will lament my destiny), arguably an even more expressively demanding aria from the same opera. It was after that coupling that the ovation erupted, and her version of Lascia ch’io pianga – from Rinaldo and one of Handel’s greatest hits, present on many an opera sampler – was still to come. She garnished that with some very tasteful and thoughtful ornamentation.The musicians, of course, provided the sort of muscular and passionate playing that Butt’s direction demands, as listeners to BBC Radio 3 can hear when the concert is broadcast on Monday. Come Saturday they can hear Alder sing Mozart with the BBC SSO and Ilan Volkov at the Proms. She is having some week.”
    Keith Bruce, Herald Scotland, 14 August 2016

  • 21 Jun 16 MOZART Idomeneo
    Garsington Opera
    More info  

    “As Ilia, Louise Alder made each of her arias a wonderfully telling glimpse of the human heart.”
    Rebecca Franks, The Times, 23 June 2016

    “Louise Alder’s Ilia was a vulnerable, sweet-toned princess…she sang ‘Se il padre perdei’ with real style.”
    Melanie Eskenazi, MusicOHM, 20 Jun 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.”
    Charlotte Valori, Bachtrack, 21 June 2016

    “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.”
    Mark Berry, Opera Today, 22 June 2016 

    “…Louise Alder’s gentle lyricism…”
    George Hall, The Stage, 23 June 2016 

    “The singing is exceptionally strong, and the three female leads are superb. The portrayal of Louise Alder as Ilia [is] characterised by a purity of line. There is a beautiful sweetness and lightness to Alder’s tone…”
    Sam Smith, Classical Source, 22 June 2016 

    “…soprano Louise Alder a determined yet touching Ilia…”
    Mark Valencia, What’s on Stage, 23 June 2016 

    “The voices of Louise Alder (Ilia) and Caitlin Hulcup (Idamante) play off each other with graceful intensity.”
    Michael Church, The Independent, 29 June 2016

    “Louise Adler’s Ilia was sweet-toned and beguiling, though also clearly a musical force capable of withstanding the onslaught of events as they conspire against the character before she and Idamante are finally vindicated.”
    Curtis Rogers, Seen and Heard, 30 June 2016 

    “Louise Alder and Caitlin Hulcup are hugely appealing as the young lovers, Ilia and Idamante, and their love duet in Act 3 is one of the most glorious moments in the entire opera, wonderfully joyful and life-affirming.”
    Tim Hughes, The Oxford Times, 05 July 2016 

    “Best of all was Louise Alder’s Ilia, the Trojan princess accidentally besotted with the enemy. Her light, flexible soprano was ideally suited to the role and venue, her ornamentation lucid, her tone flawless.”
    Flora Wilson, The Guardian, 07 July 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.”
    Alexandra Coghlan, The Spectator, 06 July 2016 

    “Louise Alder’s Ilia was terrific, fully up to the challenges of the role and singing with appealingly youthful, but powerful tone.”
    Hugo Shirley, Opera, August 2016

  • 26 Apr 16 JANACEK The Cunning Little Vixen
    Oper Frankfurt
    More info  

    “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.”
    Stefan Schickhaus, Frankfurter Rundschau, 26 April 2016 

    “Die in jedem Moment textverständliche Louise Alder gestaltet die Rolle der Füchsin Schlaukopf mit jugendlichem Temperament und stimmlicher Strahlkraft.”
    Christiane Franke, Opernnetz, 26 April 2016 

    “Die Titelpartie in der Premiere sang das junge Ensemble-Mitglied Louise Alder. Louise Alder gab zudem ihr Rollendebüt des Füchslein Schlaukopf, dessen Partie sie auf Tschechisch solide und sicher sang. Mal reißerisch, wild und wütend, dann auch von unterwürfiger Zuneigung zum Förster erfasst, wechselte Louise Alder stimmlich flexibel zwischen den Stimmungsmodi der temperamentvollen Füchsin hin und her. Das energetisch wilde Spiel, mit dem sie ihre Rolle gestaltete, wünschte man sich dennoch mehr im Gesang zu hören.”
    Stephan Eckel, Bachtrack, 25 April 2016 

  • 04 Apr 16 HANDEL Giulio Cesare
    Oper Frankfurt
    More info  

    “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.”
    Hugh Canning, Opera, June 2016

  • 26 Oct 15 LUIGI ROSSI Orpheus
    Royal Opera House, Covent Garden, at the Sam Wanamaker Playhouse
    More info  

    “[Rossi’s] Orpheus puts [Euricide] centre stage and gives Louise Alder the meatiest role of all – and she eats it up. Wonderfully passionate in her anger towards Aristeus, the thwarted suitor who poisons her, this committed singing actress is a special communicator as well as a radiant soprano. Her death aria is deeply moving and transcends the indulgences of Christopher Cowell’s translation.”
    Mark Valencia, What’s on Stage, 25 October 2015 

    “Louise Alder is the feisty Eurydice, who has much more to do in this Orpheus opera than in most others.”
    Andrew Clements, The Guardian, 25 October 2015 

    “Louise Alder’s Eurydice is the pick of the singers for the sublime parts. The set of emotions she has to project isn’t exactly complex, but she puts across Eurydice’s fidelity and despair in an engaging manner, helped by a sweet voice, spot-on intonation and well-turned phrasing.”
    David Karlin, Bachtrack, 24 October 2015 

    “Louise Alder is a winning Eurydice.”
    Rupert Christiansen, The Telegraph, 24 October 2015 

    “Louise Alder, who most recently sang the maid Lucia in Fiona Shaw’s production of The Rape of Lucretia, 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.”
    David Nice, The Arts Desk, 24 October 2015 

    “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.”
    Hannah Nepil, Financial Times, 26 November 2015 

    “There are memorable individual contributions, nevertheless, [including] Louise Alder’s Eurydice.”
    George Hall, The Stage, 29 October 2015

    “Louise Alder’s richly coloured Eurydice: 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.”
    Claire Seymour, Opera Today, 01 November 2015 

    “[A] standout performances from Louise Alder as Eurydice”
    Fiona Maddocks, The Guardian, 01 November 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 [Keith] Warner’s stage business, creating a much-needed centre of gravity for this irrepressible show.”
    Alexandra Coghlan, Opera, January 2016

  • 26 Oct 15 MOZART Le nozze di Figaro
    Oper Frankfurt
    More info  

    “Die jungen Sänger aus dem Ensemble bzw. Opernstudio begeisterten mit Elan und schönen Stimmen, die gleichermaßen zu loben sind. Allen voran Kihwan Sim (Figaro), Louise Alder (Susanna), Iurii Samoilov (Graf) und Nina Tarandek (Cherubino).”
    Frankfurter Neue Presse, 06 October 2015

  • 06 Jul 15 BRITTEN The Rape of Lucretia
    Glyndebourne Festival Opera
    More info  

    “Louise Alder’s youthful, impetuous Lucia completed this outstanding ensemble cast.”
    Melanie Eskenazi, Music OMH, 06 July 2015

    “Lucia [is] strongly taken by Louise Alder.”
    Rupert Christiansen, The Telegraph, 06 July 2015 

    “The voices of Christine Rice, Catherine Wyn-Rogers, Louise Alder and Duncan Rock are hauntingly beautiful…”
    David Karlin, Bachtrack, 06 July 2015

    “…finely supported by Louise Alder’s precise Lucia…”
    George Hall, The Guardian, 07 July 2015 

    “The singers are close to ideal and diction throughout the supercharged company is as exemplary as their singing and acting…with Louise Alder a soaring maid, Lucia…”
    Mark Valencia, What’s on Stage, 14 July 2015 

  • 15 Apr 15 Gala des Liedes
    Musikverein, Graz
    More info  

    mit großen und mit neuen Namen 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.”
    Hermann Becke, Der Opernfreund, 11 April 2015

    “Die Engländerin Louise Alder glänzte mit jugendlichem, expansionsfähigem Sopran.”
    Ernst Naredi-Rainer, Kleine Zeitung, 12 April 2015

  • 03 Feb 15 CESTI L'Orontea
    Oper Frankfurt
    More info  

    “Silandra (Louise Alder, glockenklarer Koloratursopran)”
    Klaus Ackermann, Offenbach-Post, 03 February 2015

    “Alder punktet mit hellem Sopran und laszivem Spiel.”
    Thomas Molke, Online Musik Magazin, 03 February 2015

    “The Silandra of Louise Alder was a lusty, commanding presence.”
    Rebecca Schmid, Financial Times, 02 February 2015

    “Louise Alder (silandra) [was] excellent…”
    Nicholas, Blanmont, Opera, July 2015

  • 01 Jan 15 BELLINI La Sonnambula
    Oper Frankfurt
    More info  

    “The high standard was maintained by Louise Alder’s sparkling Lisa.”
    Nicholas Blanmont, Opera, May 2015

  • 24 Oct 14 Liederabend with Björn Bürger (baritone) & Helmut Deutsch (piano)
    Oper Frankfurt
    More info  

    “Die Wahl fiel auf zwei junge Sänger: auf die Sopranistin Louise Alder und auf den Bariton Björn Bürger. Alder ist seit dieser Saison neues Ensemblemitglied der Oper Frankfurt und derzeit als Gretel in „Hänsel und Gretel“ zu erleben. Bürger ist seit der letzten Saison Ensemblemitglied der Oper Frankfurt (er wird u.a. im nächsten die Titelrolle bei der Wiederaufnahme von Brittens „Owen Wingrave“ und sein Debüt als Don Giovanni an der Oper Oslo geben). Begleitet wurden Sie von keinem geringeren als dem Meister der Klavierbegleiter schlechthin: Helmut Deutsch. Bürger arbeitete mit ihm schon während seiner Ausbildung an der HfMDK Frankfurt, Alder wird mit ihm (und mit Florian Boesch, Bernarda Fink, Angelika Kirchschlager und Michael Schade) am 10. April 15 die „Gala des Liedes“ beim Musikverein Graz gestalten.Bei dem kurzfristig zusammengestellten Programm wechselten sich die beiden jungen Sänger ab, teilten den Liederabend gewissermaßen auf. Dabei stellten sie sich der Königsdisziplin Liederabend mehr als respektabel – schon durch ihre Gelöstheit und Unbeschwertheit, die sie äußerlich vermittelten (Bürger verweilte zudem kurz vorher noch ganz tiefenentspannt an der Abendkasse mit Angehörigen). 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).

    Eröffnet wurde der Abend von Björn Bürger mit Ludwig van Beethovens Liederzyklus „An die ferne Geliebte“, sechs vertonte Gedichte von Alois Jeitteles (einem Brünner Arzt, der Seuchen bekämpfte), die das Thema Liebessehnsucht beleuchten. Hier wirkte Bürger noch etwas in Eile und preschte mit schnellem Tempo und verhaltener Innigkeit durch diesen Zyklus (schön kontemplativ allerdings bei der dritten Strophe von „Heiß mich nicht reden“). Louise Alder widmete sich mit ihrem kräftigen Sopran zunächst den vier Lieder Mignons aus Robert Schumanns Opus98a (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 Dupard. Mit vier Liedern von Richard Strauss beendete sie den ersten Teil. Das heitere „Schlechtes Wetter“ passte ganz besonders zum gerade über Frankfurt gezogenen Herbststurm.

    Nach der Pause präsentierte sich Bürger mit Schumanns „Dichterliebe“ als souveräner Liedsänger. Der Zyklus besteht aus 16 Liedern, zu deren bekanntesten zählen „Im wunderschönen Monat Mai“, „Im Rhein, im heiligen Strome“, „Ich grolle nicht“ oder „Die alten, bösen Lieder“). Auch wenn er in den Extremen, also den Höhen und Tiefen, noch etwas an Volumen zulegen kann , überzeugte er mit seinem flüssigen Stil, mit angemessenem Pathos und mit viel Gefühl. Sehr schön innig trug er beispielsweise „Am leuchtendem Sommermorgen“ vor. 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  ric H. Thiman. Bei den Zugaben nahm sich Bürger in Gentlemen-Manier zurück und ließ Alder strahlen.”

    Markus Gründig, Oktober 2014

  • 22 Oct 14 HUMPERDINCK Hänsel und Gretel
    Oper Frankfurt
    More info  

    “Louise Alder sang mit leuchtend klarer, verzückt betörender Stimme die Gretel.”
    Barbara Röder, Klassik.com, 22 October 2014

    “…the delightful Gretel of Louise Alder grasping her first major assignment as a member of the ensemble…”
    Hugh Canning, Opera, March 2015

  • 23 Jul 14 STRAUSS Der Rosenkavalier
    Glyndebourne Festival Opera at the BBC Proms with the LPO/Ticciati
    More info  

    “Louise Alder 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 future. She makes her full Glyndebourne debut next season and that’s something to watch out for.”
    Simon Thomas, What’s on Stage, 23 July 2014

    “…her intonation was secure and her silvery top notes bloomed gloriously…”
    Mark Pullinger, Bachtrack, 23 July 2014

    “Louise Alder was a sparkling Sophie who won all hearts.”
    Barry Millington, The Evening Standard, 23 July 2014

    “[Alder’s] bright and well-supported soprano was a constant reward.”
    Martin Kettle, The Guardian, 23 July 2014

    “Louise Alder a feisty Sophie, primed for fisticuffs with her unwanted husband-to-be Baron Ochs.”
    Clare Colvin, Express, 27 July 2014

    “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.”
    Kimon Daltas, The Arts Desk, 23 July

  • 30 Apr 14 RAMEAU Zaïs
    Orchestra of the Age of Enlightenment/Jonathan Williams
    More info  

    “The classy cast included Louise Alder’s refined Zélidie…”
    Tim Ashley, The Guardian, 29 April 2014

  • 03 Apr 14 BRIDGE, BRITTEN, LISZT & STRAUSS Ligeti Quartet
    Wigmore Hall
    More info  

    “The soprano is an opera star in the making, as this evening of early 20th-century songs showed. 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 uninhibited actress, with a bewitching ability to get to the core of a text and embody it wholeheartedly. She knows how to hypnotise her audience. And this well-crafted programme, also showcasing the dynamic Ligeti Quartet, lent itself to her cause. It consisted mostly of songs by English and Austrian early 20th-century composers – ostensibly diverse but artfully chosen to highlight chains of influence: Frank Bridge’s impact on his student, Benjamin Britten, for example, and Alban Berg’s on Bridge. What really glued it all together, however, was the intensity that Alder brought to each piece, almost equalled by that of her piano accompanist, John Paul Ekins. Under her laser-sharp focus, the bleak and brief ‘Nocturne’ from Britten’s On this Island, Op. 11 resonated far beyond its three-minute lifespan. Strauss’s ‘Der Stern (from Op. 69) radiated tenderness: each word was lovingly caressed, each musical idea fresh and vital. Liszt’s ‘Tre Sonetti di Petrarca’, S. 270b, though operatic enough in its own right, swelled to even larger-than-life proportions in Alder’s hands, with lines such as “death and life alike repel me” declaimed in an anguished howl. And Bridge’s three charming songs – ‘Goldenhair; Sonnet ‘When most I wink’ and ‘Love Went a-Riding’ – tripped off Alder’s tongue with a lyrical ease. Earlier in the evening the Ligeti Quartet gave an incisive account of Bartók’s eerie String Quartet No. 4, a piece that revealed the players’ wide palette and translucent sound, albeit with a hint of restraint. They brought the same qualities to Berg’s Lyric Suite, while handling its mood-swings with a sure-footed grace. Alder joined them only for the final, haunting Largo desolato, but it was enough to underline the point: this soprano should go far.”
    Hannah Nepil, Financial Times, 1 April 2014

  • 25 Nov 13 MOZART Coronation Mass
    Chichester Singers/Jonathan Willcocks
    More info  

    “The soprano solo of Louise Alder was beautifully delivered with ease and musicality, most noticeable in the Agnus Dei.”
    Mark Hartt-Palmer, Chichester Observer, 25 November 2013

  • 26 Apr 13 Kathleen Ferrier Competition, Final 2013
    Wigmore Hall
    More info  

    “The second prize went to soprano Louise Alder. There was promise here, and power enough to shatter a chandelier.”
    Geoff Brown, The Times, 29 April 2013

  • 01 Apr 13 HANDEL Imeneo
    London Handel Festival
    More info  

    “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 mastered 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. All the singers, including an excellent chorus who did double duty as scenery changers, threw themselves with unbridled enthusiasm into the humour of the production, but it was Miss Alder’s comic timing which was for this critic
    par excellence.”
    Miranda Jackson, Opera Britannia

    “Soprano Louise Alder played the part of Clomiri with a comic touch, wooing Imeneo with sexual appeal. Her light and lyrical voice is suited to baroque repertoire and she impressed with her ornamentation in her Act 3 aria.”
    Nahoko Gotoh, One Stop Arts, 11 March 2013

    “Louise Alder [displayed] delicacy as Clomiri.”
    George Hall, The Guardian, 12 March 2013

    “Louise Alder’s Clomiri spun elegant vocal lines.”
    Richard Fairman, Financial Times, 12 March 2013

    “As so often in [Handel’s] operas of this type, the seconda donna – Louise Alder’s sprightly, teasing Clomiri – ran off with the show, as least as far as the audience was concerned, reminding me of Lesley Garrett’s ENO Atalanta (Serse) and Dalinda (Ariodante), and Camilla Tilling’s Dorinda (Orlando) at Covent Garden.”
    Hugh Canning, Opera, May 2013

  • 14 Jan 13 Recital with Gary Matthewman (piano)
    Purcell Room, Southbank Centre
    More info  

    “Alder showed an uncanny ability to get beneah 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 a radiant performer and a composer’s godsend.”
    Andrew Clark, The Financial Times, January 2013

    “Hearing her ringing top 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.”
    Geoff Brown, The Times, January 2013

    “[Alder’s] voice reaches a startling focus and intensity at altitude, which she put to savagely ironic use in Huw Watkins’ 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 Matthews’ delightful setting of Edward Thomas’ Out in the Dark.”
    Ivan Hewett, The Telegraph, January 2013

  • 17 Sep 12 MOZART Le nozze di Figaro
    Royal College of Music
    More info  

    “An accomplished performance of this pivotal role by Louise Alder revealed the soprano to be a born actress and a fluent and expressive singer: her account of Susanna’s Deh vieni non tardar was exquisitely charged with the love she feels for Figaro.”
    Opera, September 2012

Repertoire

BACH
Jauchzet Gott in allen landen !
Magnificat
Mass in B Minor
St John Passion
St Matthew Passion

BARBER
Knoxville: Summer of 1915

BELLINI
La Sonambula (Lisa)

BEETHOVEN
Choral Fantasy
Fidelio (Marzelline)
Mass in C
Symphony No. 9

BIZET
Carmen (Frasquita)

BLOW
Venus and Adonis (Venus)

BRAHMS
Ein Deutsches Requiem

BRITTEN
Albert Herring (Miss Wordsworth)
Les Illuminations
On This Island
A Midsummer Night’s Dream (Tytania)
Peter Grimes (First Niece)
The Rape of Lucretia (Lucia)

CAVALLI
La Calisto (title role)

CESTI
L’Orontea (Silandra)

DEBUSSY
Diane au Bois

DONIZETTI
L’Elisir D’Amore (Adina)

FINZI
Dies natalis

GLUCK
Orfeo (Euridice)

HANDEL
Agrippina (Poppea)
Giulio Cesare (Cleopatra)
Il delirio amoroso
Imeneo (Clomiri)
Rodelinda (title role)
Samson
Semele (title role)
Theodora (title role)
Xerxes (Atalanta/Romilda)

HAYDN
The Creation
Nelson Mass

HUMPERDINK
Hansel und Gretel (Gretel)

JANACEK
The Cunning Little Vixen (title role)

Massenet
Werther (Sophie)

MENDELSSOHN
Lobgesang

MONTEVERDI
L’incoronazione di Poppea (title role)

MOZART
Cosi fan tutte (Despina)
Don Giovanni (Zerlina)
Exsultate Jubilate
Idomeneo (Ilia)
Mass in C Minor (Soprano 1)
Le nozze di Figaro (Susanna)
Requiem
Die Zauberflöte (Pamina)

ORFF
Carmina Burana

PERGOLESI
Stabat Mater

POULENC
Gloria
Mass in G Minor

PUCCINI
La bohème (Musetta)

PURCELL
The Fairy Queen
King Arthur

RAMEAU
Zaïs (Zélidie)

LUIGI ROSSI
Orpheus (Euridice)

ROSSINI
La Cenerentola (Thisbe)

SCHUBERT
Mass in G

STRAUSS
Der Rosenkavalier (Sophie)

STRAVINSKI
The Rake’s Progress (Ann Trulove)

VERDI
Falstaff (Nanetta)

Interview

Read Louise’s Interview with PrestoClassical (August 2017): Louise Alder on Strauss Lieder

Read Louise’s Interview in BBC Music Magazine (July 2017): Q&A: Louise Alder

Read Louise’s Interview in Opera Now (Artist of the Month, June 2016): Louise Alder Artist of the Month