Alexandra LoBianco



American soprano Alexandra LoBianco, whom the Seattle Times exclaimed, “gave a subtle but 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 of Helmwige in Die Walküre, as well as the Brünnhilde, cover while on tour in Japan.

In the 2018/19 season, Alexandra LoBianco will return to the Lyric Opera of Chicago for three projects: the covers of Brünnhilde in Siegfried, Chrysothemis in Elektra and performances of the Fourth Maid in Elektra. She will also join North Carolina Opera for the title role in Tosca. Symphonic projects include Senta in Der fliegende Holländer with Baltimore Concert Opera, and Mahler’s Symphony No. 8 with Madison Symphony, where she previously sang Rachmaninoff’s The Bells.

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“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” 

Lawrence Budmen

South Florida Classical Review

More Reviews

“ 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