Alexandra Loutsion, Soprano

I love to perform and entertain! I am pretty versatile in my presentation, so I can either provide background music for an event, or be the main entertainer, singing and interacting with the audience. I am the most versed in opera and classical music (in multiple languages), but I also enjoy singing jazz, musical theater, and pop/folk when asked. I occasionally perform a cappella, but usually use a pianist or karaoke track. I'm also happy to perform with any combo of instruments depending on what you are looking for. I am happy to tailor my performance to whatever needs you have; I am very flexible and easy to work with. :)

Hailed as "fearless" (Opera News) and “masterful” (Tulsa World) with a “powerful…and gorgeous voice" (MinnPost), Greek-American soprano Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility on the operatic stage.

In the (phone number hidden)5 season, Ms. Loutsion returns to the Dallas Symphony Orchestra singing Gerhilde, and covers Sieglinde in Wagner’s Die Walküre, returns to Virginia Opera singing Donna Elvira in Mozart’s Don Giovanni, and returns to Lyric Opera of Kansas City to cover Turandot. Additionally, she will debut with Out of the Box Opera singing the title role in Puccini’s Suor Angelica, and Pittsburgh Concert Chorale singing the soprano soloist in Verdi’s Messa da Requiem. Last season, Ms. Loutsion returned to Virginia Opera singing Brünnhilde in the Jonathan Dove reduction of Wagner’s Siegfried. She returned to the rosters of Lyric Opera of Chicago covering the title role in Verdi’s Aida and Houston Grand Opera covering Kundry in Wagner’s Parsifal. She also returned to The Dallas Opera singing the Overseer and covering the title role in Strauss’ Elektra, and finshed her season debuting with Lyric Opera of Kansas City singing Mother Abbess in Rogers & Hammerstein’s The Sound of Music. Recently, Ms. Loutsion made her role and house debut with Virginia Opera as Brünnhilde in the Johnathan Dove reduction of Wagner’s Die Walküre (The Valkyrie) and returned to Opera Santa Barbara in the same role. She made her Washington National Opera debut as The Overseer, Confidante and Elektra (cover) in Strauss’ Elektra, as well as her Opera Idaho debut as Lady Macbeth in Verdi’s Macbeth. She returned to Washington Concert Opera debuting Abigaille in Verdi’s Nabucco, and also returned to Pittsburgh Opera as Leonora in Il Trovatore. She made her professional musical theater debut as Mother Abbess in Rogers & Hammerstein’s The Sound of Music with The Glimmerglass Festival and finished the season debuting with Austin Symphony Orchestra of Minnesota in both a solo recital and Wagner selections in concert.

Ms. Loutsion’s repertoire encompasses many of opera’s dramatic leads:, Strauss’ Elektra (Minnesota Opera, Canadian Opera Company (cover)), Puccini’s Turandot (Palm Beach Opera, Pittsburgh Opera, Tulsa Opera, New Orleans Opera, San Francisco Opera (cover)) Verdi’s Lady Macbeth (Lyric Opera of Chicago (cover)), Puccini’s Tosca (Central City Opera, Palm Beach Opera, Wolf Trap Opera, The National Symphony Orchestra, The Santa Fe Opera (cover), Sacramento Philharmonic and Opera, Fort Wayne Philharmonic) and Beethoven’s Fidelio (Austin Opera and The Santa Fe Opera (cover)). Other role highlights include the Foreign Princess/Rusalka with Arizona Opera, Florencia/Florencia en el Amazonas with Arizona Opera and Pittsburgh Opera, and Donna Anna/Don Giovanni with North Carolina Opera. She also covered the Lady-in-Waiting in Verdi’s Macbeth with the Chicago Symphony Orchestra under Riccardo Muti.

In addition to iconic standard repertoire, Ms. Loutsion enjoys working with living composers to bring their heroines to life: most recently she recorded the leading role of Kayla in Kamala Sankaram’s Taking Up Serpents with Chicago Opera Theater, available on streaming services globally. She also recently debuted with Lyric Opera of Chicago as Brünnhilde in Yuval Sharon’s Twilight: Gods, a reinterpretation of Wagner’s Götterdämmerung.

One of her greatest joys is creating unique recital programs that blend storytelling, spoken narrative, and song. Recent notable programs include Grotesque Beauty: The Life of Maria Callas, a one-woman show highlighting the life of Maria Callas, and Greek Love, a program using the eight ancient Greek words for love to explore how humans experience love throughout their lives. In two iterations of Greek Love, she employed a musical language as limitless as love itself, encompassing various styles and reworking classical pieces by altering keys, merging elements, and creating a dynamic version of vocal music. This approach ensured that each audience member had something personal to connect with and take away. She is currently in the process of creating a new cabaret style performance piece entitled Right to Exist, a story about the struggle and acceptance of one’s own identity.

On the concert stage, Ms. Loutsion has sung the soprano solo in Verdi’s Messa da Requiem with the Santa Fe Symphony and the Academy Chamber Orchestra of Pittsburgh, as well as Beethoven's Symphony No. 9 with the Cathedral Choral Society, West Virginia Symphony, Syracuse Symphoria, Erie Philharmonic and as a guest soloist with the Ithaca College Chamber Orchestra.

Ms. Loutsion represented the United States as a quarterfinalist in the Francisco Viñas International Singing Contest in Barcelona, Spain. She holds a Master of Music in Vocal Arts from the University of Southern California and a Bachelor of Music in Vocal Performance from Ithaca College. Ms. Loutsion was also recently awarded a place in the Greek America Foundation's "Forty under 40" Class of 2018, which celebrates the professional excellence and philanthropic endeavors of North Americans of Greek descent.

Equipment and personnel requirements:

1. Pianist who is familiar with the requested repertoire. (I can provide recommendations. This person would need to be paid separately from myself.) If you would prefer not to use a live pianist, then I would need the ability to play karaoke tracks via a speaker with amplification, which would need to be provided.

2. Piano OR electric piano/keyboard with 88 keys and an amp (I do have an electric piano that I could transport but I do not have an amp.)

3. I generally do not use microphones (I am pretty loud), but if the event is going to be noisy and in a dead space, I may need a microphone repertoire depending. We can discuss that!