American soprano Alexandra LoBianco, whom the Seattle Times exclaimed, “gave an impassioned performance” as the title role in Aida at Seattle Opera, has established herself as a dramatic soprano of unequaled versatility, musicality and consistency. An international presence, Ms. LoBianco recently stepped in for an ailing colleague as Leonore in Fidelio for her debut with the Wiener Staatsoper while under contract for the title role in Turandot. Subsequent appearances with the Wiener Staatsoper included performances as Helmwige in Die Walküre, as well as the cover of Brünnhilde, while on tour in Japan.
In the 2020-2021 season, Alexandra LoBianco will reprise the title role in Tosca at both Lyric Opera of Chicago and in her house debut at Portland Opera, before reprising the title role in Aida in her house debuts at both Opera Carolina and Opera Grand Rapids. She will also return to North Carolina Opera to reprise Leonore in Fidelio. On the concert stage, she will sing Beethoven’s Symphony No. 9 with the Florida Orchestra, Beethoven’s Missa Solemnis with the Madison Symphony, and Mahler’s Symphony No. 8 with the Omaha Symphony.Read more
In the 2019-2020 season, Ms. LoBianco made her role and house debut as Marianne Leitmetzerin in Die Rosenkavalier at the Metropolitan Opera. She covered the Foreign Princess in Rusalka at the Canadian Opera Company and sang the role in a return to Santa Fe Opera, where she also covered the title role in Tristan und Isolde. In addition, she returned to Lyric Opera of Chicago for Wagner’s Ring Cycle, performing Helmwige and covering Brünnhilde, returned to North Carolina Opera to sing Brünnhilde in Siegfried, and made her house debut at Palm Beach Opera as the title role in Turandot.
Operatic highlights of previous seasons have included Chrysothemis and the Fourth Maid in Elektra as well as Helmwige at Lyric Opera of Chicago, the title role in Tosca at both North Carolina Opera and Minnesota Opera, the title role in Aida at Opera Colorado, Donna Anna in Don Giovanni at Seattle Opera, Miss Jessel in The Turn of the Screw at Dallas Opera, Amelia in Un ballo in maschera at Florida Grand Opera, and the prima donna in Ariadne auf Naxos at Austin Opera. At Des Moines Metro Opera, Ms. LoBianco has performed the title role in Turandot and Minnie in La fanciulla del West. Of her Turandot, Opera Today wrote, “Alexandra LoBianco is well remembered here for her feisty Minnie in a recent season. If Fanciulla is a Big Sing for the soprano, Princess Turandot is a Big Sing on Steroids… Ms. LoBianco is short of physical stature, but makes up for it with potent spinto vocalizing that has its own towering presence.”
Additional repertoire includes Sieglinde in Die Walküre, Leonora in Il trovatore, the title roles in Suor Angelica and Madama Butterfly, Donna Elvira in Don Giovanni, Mimì in La bohème, Magda Sorel in Menotti’s The Consul and Brünnhilde in Jonathan Dove’s abridged Ring Cycle. She made her European debut singing at a Viva Verdi concert in Zürich, under the direction of Lotfi Mansouri. A native of Saint Petersburg, Florida, Alexandra LoBianco received her education in voice, theater, and clarinet, and currently resides in Chicago, where she trains the next generation of opera singers and advocates for music education.
“Her large, dark voice has an exciting edge in the upper reaches. LoBianco repeatedly soared over the full orchestral and choral forces. She managed to capture Amelia’s desperate state, radiating real fear at the sight of the gallows”
“ Undaunted by having to strike silent-movie facial expressions and claw the air with Freddy Kruger fingernails, Alexandra LoBianco invested the titular ice-princess with a steely yet pliant dramatic soprano that fearlessly rode the crests of orchestral sound produced in the pit.”
John von Rhein,Chicago Tribune
“…the Des Moines Metro Opera company presented Alexandra LoBianco in the title role of Puccini’s final opera. With force, lyricism, and an absolutely huge top, Miss LoBionco was fire and ice, succumbing to the unnamed Prince (Jonathan Burton) and winning over the audience…”
John S. Twinam, OperaWire
“…LoBianco’s ‘widely terraced dynamics and intensity turned both of Amelia’s arias into high wire displays of emotion, tottering on the brink of unhinged. She is a dramatic soprano of great promise.'”
BWW News Desk, Broadway World