Christopher Lowrey



Christopher Lowrey is now emerging at the front rank of young countertenors on both the opera stage and concert platform. He sings with a wide range of distinguished companies around the world, including Royal Opera House, Glyndebourne Festival, BBC Proms, London Philharmonic Orchestra, Academy of Ancient Music, Orchestra of the Age of Enlightenment, English Concert, Early Opera Company, La Nuova Musica, London Handel Festival, Aix-en-Provence Festival, Opéra Royal de Versailles, Ambronay Festival, La Fenice, Cappella Mediterranea, Göttingen Handel Festival, Bach Collegium Japan, Boston Baroque, Pinchgut Opera, Adelaide Festival, Grand Théâtre de Geneve, Palau de les Arts Reina Sofia, Melbourne Symphony Orchestra, and Voices of Music. He has worked with a variety of conductors including William Christie, Vladimir Jurowski, Christophe Rousset, Laurence Cummings, Richard Egarr, Christian Curnyn, Stephen Layton, Masaaki Suzuki, Erin Helyard, David Bates, Roberto Abbado, Leonardo García-Alarcón, and Martin Pearlman.

Upcoming engagements include Christopher’s English National Opera debut in both Handel Rodelinda (Unulfo) and Nico Muhly Marnie (Terry, cover), Handel Messiah with Clare College Choir at Union Chapel London, Bach Cantatas at the Philharmonie de Paris with Ensemble Pygmalion, Handel Orlando (Medoro) with La Nuova Musica at St John’s Smith Square London, Brett Dean’s Hamlet (Guildenstern) for the Adelaide Festival, Bach B Minor Mass at Winchester College, Handel Il trionfo del tiempo e del disinganno (Disinganno) for the London Handel Festival, Handel Arminio (title role) for the Göttingen Handel Festival, Handel Rinaldo (Argante) with Les Talens Lyriques at Theater Basel, and a concert tour of Pergolesi Stabat Mater with soprano Sandrine Piau and Les Talens Lyriques.

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“Blessed with a voice of pure honey, he gives a world-class performance, unfazed by his character’s numerous arie di furie and tossing off roulades left, right and centre…Don’t miss him, he’s going places.”

Limelight Magazine

“Christopher Lowrey was outstanding as Joacim, effortless in his vocal uxoriousness. His air, on hearing news of his wife’s trial, was urgent, driven onwards by the lower strings.”


More Reviews

Fortunately, newcomers are distinguished first and foremost by countertenor Christopher Lowrey (Arioco), justly acclaimed at the end of the concert. Purity of singing and attractive timbre combine with an eloquent dramatic investment.

– ConcertoNet

Toutefois, Nabucco le voit renoncer sagement à la vocalité plus exigeante d’Ariocos, qu’il créa, et passer le flambeau à Christopher Lowrey. Déjà apprécié in loco dans trois rôles de l’ Elena de Cavalli due au même Alarcón, le jeune homme recueille à l’applaudimètre un score en rapport avec ses moyens : considérable. Timbre riche et chaud, legato charmeur, coloratura expressive, précise et souple : voilà des atouts forts. Le Diluvio , où il reprend la difficile Justice Divine, lui permet d’en projeter les décrets avec une cinglante autorité : son entrée Cedi Pietà , et un peu plus loin Tacete su , clouent l’auditeur sur sa chaise. Grande carrière en vue.

However, Nabucco sees him wisely abandon the most demanding vocal role of Arioco, that he created, and pass the torch to Christopher LowreyAlready appreciated in loco in three roles of Elena of Cavalli under the baton of the same Alarcón, the young man collects the applause he deserves: considerable. A rich and warm tone, charming legato, expressive coloratura, precise and flexible: these strong assets. And there are others. The Diluvio , where he took over the difficult role of Divine Justice, allows him to project the decrees with a stinging authority at the entrance Cedi Pietà , and a little later at Tacete su, he nails the listener in his chair. A great career ahead.

– Baroquiades

Saluons le ténor Fernando Guimarães dans le rôle-titre, fermement tenu, et l’excellent Christopher Lowrey (Arioco), contre-ténor de riche couleur dont l’inflexion, à la précision confondante, enveloppe avantageusement l’écoute.

Welcome were the tenor Fernando Guimarães in the title role, firmly sung, and the excellent Christopher Lowrey (Arioco), a rich and colorful countertenor whose inflection and astounding precision enveloped the listener.

– Anaclase

Interprétée dans la Cathédrale de Messine à l’occasion de la prise de fonction du maître de chapelle Falvetti, ce Déluge universel bénéficie d’interprètes aussi virtuoses qu’engagés, à commencer par le Chœur de Namur qui cisèle ses entrées avec maestria dans le A fuggire, a morire ou bien la scène de la Justice Divine (excellent Christopher Lowrey) convoquant les quatre éléments pour débarrasser la Terre de ses importuns humains.

Interpreted in the Cathedral of Messina on the occasion of the inauguration of Falvetti as choirmaster, this Universal Deluge calls for virtuoso performers, beginning with the Choir of Namur who carves its inputs masterfully in the A fuggire a morire or in the role of Divine Justice (the excellent Christopher Lowrey), summoning the four elements to rid the Earth of its human intruders.

– ResMusica

En ambigu Arioco, chef des milices, forcé d’obéir au tyran, Christopher Lowerey déploie son timbre de contre-ténor aérien, assez proche de celui d’un David Daniels, manquant tout autant de graves mais capable d’une belle virtuosité et d’une prononciation plus affutée.

As the ambiguous militia leader Arioco, forced to obey the tyrant, Christopher Lowrey deploys his countertenor timbre, fairly close to that of David Daniels, perhaps not quite as heavy but capable of great virtuosity and a more sharpened pronunciation.

– Forum Opera


These were powerful portrayals of the title roles. Christopher Lowrey’s Oberon is clad in androgynous metallic green and teases out the implicit love interest in Puck, heightening the exotic obscurity inherent in the countertenor role. His still presence made the moment Oberon beats the knave doubly sinister, and there was poetry too, with Lowrey carving the “oxlips” and “eglantine” in “I know a bank” sumptuously with a voice that melted into the otherworldly background of harp and celeste.

– Bachtrack

I tre gruppi dei protagonisti hanno linguaggi drammatici spiccati: Oberon e Titania, gli ottimi Christopher Lowrey, astrale controtenore, e Nadine Sierra, regale, sono circondati dalle vere voci bianche dei bambini di una scuola dal nome lunghissimo (Escolania de la Mare de Déu dels Desemparats) preparati da Luis Garrido.

The three groups of protagonists have significantly different dramatic languages: Oberon and Titania, the excellent Christopher Lowrey, astral countertenor, and the regal Nadine Sierra, are surrounded by the true voices of the children of Escolania de la Mare de Deu dels Desemparats, prepared by Luis Garrido.

– Il Sole 24 Hore

Destacadas fueron las intervenciones de la soprano Nadine Sierra (en el papel de Titania, reina de las hadas) y el contratenor Christopher Lowrey (Oberón, rey de los elfos), que estuvo brillante en una tesitura prácticamente desterrada desde la ópera barroca.

Featured were the interventions of soprano Nadine Sierra (in the role of Titania, queen of the fairies) and countertenor Christopher Lowrey (Oberon, king of the elves), who was brilliant in a tessitura virtually banished since the time of baroque opera.

– La Vanguardia


Christopher Lowrey was all vocal energy, keeping Joacim free from priggish virtue by the blazing brilliance of his coloratura, virtuosic embellishments bursting suddenly through his careful crafted phrasing like lightning through cloud.
– The Spectator

Christopher Lowrey was outstanding as Joacim, effortless in his vocal uxoriousness. His air, on hearing news of his wife’s trial, was urgent, driven onwards by the lower strings.

– Bachtrack

Joacim was sung by Christopher Lowrey with a nice clear countertenor, excellent diction and a welcome delicate approach to the text. “On the rapid whirlwind’s wing” was sung with appropriate bounciness and energy The first duet with Susanna and Joacim was sheer delight with lovely blending of the voices, as was the final duet “To my chaste Susanna’s praise”, with rapid runs perfectly executed by both.

– Opera Brittania

Das hat auch der Countertenor Christopher Lowrey geschafft. Vor zwei Jahren war er noch der Feind, jetzt der Ehemann von Emily Fons, allerdings kurzzeitig außer Haus: während seiner Abwesenheit von der Gattin wird diese sexuell belästigt – bleibt aber standhaft. An der Handlung ist Lowrey also nur aus der Ferne beteiligt. Seine emotionale Arien gingen allerdings sehr nahe. Und sie wurden immer halsbrecherischer: am Ende des zweiten Aktes zeigte er in der Arie „On the rapid whirlwind’s wing“, wie er gleich einem Wirbelwind durch die Koloraturen jagt. Das allerdings mit einer Leichtigkeit, die einem den Atem stocken lässt.

The countertenor Christopher Lowrey managed the same. Two years ago, he was the enemy, now the husband of Emily Fons, however briefly away from home: during his absence from his wife, she is sexually assaulted – but remains steadfast. Lowrey is thus involved in the action only from a distance. But his emotional arias were very present. And they were always breakneck: at the end of the second act, in “On the rapid whirlwind’s wing” he demonstrated the chasing whirlwind through the coloratura. That was done, however, with an ease that takes one’s breath away.
– Kulturbüro Göttingen

Fons sounds more like the perfect lyric soprano than another advertised mezzo, but what matter? She and Lowrey, a counter-tenor with muscle as well as musicality, spurred each other on to heights of eloquence.
– The Arts Desk

Als Joacim während einer Geschäftsreise erfährt dass seine Frau Susanna als Ehebrecherin zum Tode verurteilt ist, steigt ihm das Adrenalin zu Kopf. Zu rasenden läufen der Violinen überschlägt er sich in Koloraturen: “Wie der rasche Wind beschwingt, flieg ich hin in schnellem Lauf.” Die furiose Arie aus Handels Oratorium Susanna geriet durch die überragende Leistung von Christopher Lowrey am Donnerstag zum Auftakt der Göttinger Händel-Festpiele in der so gut der ausverkauften Stadthalle zu einem Höhepunkt. Perfekt artikuliert und dynamisch flexibel gestaltete der Countertenor den Part des verliebten Ehemanns, dessen Frau während seiner Abwesenheit von zwei Lustgreisen beim Baden beobachtet fast vergewaltigt und denn einem Schauprozess ausgeliefert wird.

Away on a business trip, Joacim learns that his wife Susanna is condemned as an adulteress to death, and the adrenaline rushes to his head. To frenzied runs of the violins he overturns in coloratura: “On the rapid whirwind’s wing, see I fly to seek the fair”. The furious aria from the oratorio Susanna was given a superior performance by Christopher Lowrey on Thursday to kick off the Göttingen Handel Festival; in the sold-out Stadthalle. Perfectly articulated and dynamically flexible, the countertenor part is that of the amorous husband whose wife is almost raped during his absence by two old men observing her while bathing and is later subjected to a show trial.
– Hofgeismarer Allegemeine

Christopher Lowrey gave an equally effective portrayal of her steadfast husband, Joacim.
– Opera con brio