"Alexandra Razskazoff, whose soprano was rich, distinctive of timbre, and penetrating, and possessed a lovely bloom on top."
- OPERA NEWS
Represented by
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Arthur Fagen, Conductor
Tomer Zvulun, Stage Director
Arthur Fagen, Conductor
Tomer Zvulun, Stage Director
Arthur Fagen, Conductor
Tomer Zvulun, Stage Director
James Harp, Conductor
Roberto Rizzi Brignoli, Conductor
Rodrigo Navarrete, Stage Director
Micaëla Carmen and Mimì La bohème at Teatro Municipal de Santiago, Donna Elvira Don Giovanni* in a new production at El Tec de Monterrey, Mexico and with Teatro Grattacielo at the Phoenicia International Festival of The Voice, Suzel in Teatro Grattacielo's production of Mascagni's L'Amico Fritz, debut with Atlanta Opera as Wellgunde Das Rheingold, Giannetta L'elisir d'amore at Palm Beach Opera, Lisa in Lehár’s Das Land des Lächelns with Washington Opera Society.
Concerts with the Dallas Symphony Orchestra, Washington Opera Society, Maryland Opera, Vero Beach Opera, Mid-Atlantic Symphony, Maryland Lyric Opera and Panama City Symphony and also Beethoven's 9th Symphony with Bozeman Symphony.
* cancelled
Grand Finals Winner in the 2022 Metropolitan Opera Laffont Competition.
Mozart - Don Giovanni - Mi tradi quell'alma ingrata
Mozart - Don Giovanni - Mi tradi quell'alma ingrata
Puccini - La Boheme - Donde lieta usci
Puccini - La Boheme - Donde lieta usci
Britten - Peter Grimes - "Embroidery, in childhood..."
Britten - Peter Grimes - "Embroidery, in childhood..."
AVA’s young cast gave thoroughly professional performances. Alexandra Razskazoff, a first year resident artist, epitomizes what’s special about this school. Razskazoff already has a bachelor’s degree from the Peabody Conservatory and a master’s from The Juilliard School, and then auditioned for admission to AVA. This was her first performance as Violetta, the meatiest role she’s yet assumed, and she handled it with finesse, indicating superb training. She has a full, rich (cont...) ...sound yet had no trouble with coloratura and the optional high E-flat just before the end of ‘Sempre libera’. She also scaled down to fine pianissimi in her death scene...(Too many Violettas are lightweights who lack the necessary power for “Amami, Alfredo” while others run into difficulty with the coloratura. Razskazoff was fine in both areas.)
The real find was soprano Alexandra Razskazoff as Suzel. Her full dark soprano is capable of lyric charm floating pianissimos. Yet she also has nascent spinto potential filling out climactic phrases and passionate declamation with rich, soaring tone. Razskazoff phrases with style and musicality making one long to hear what she can do in middle Verdi and Puccini—the vocal goods are there.
Suzel was Alexandra Razskazoff, whose soprano was rich, distinctive of timbre, and penetrating, and possessed a lovely bloom on top.
A big surprise was also the debut of American Alexandra Razskazoff as Mimì, a soprano of incredible beauty capable to project vocally and with her subtle expressions to embody the fragile Mimi.
Mimi, soprano Alexandra Razskazoff: this is a large record, sound very interesting soprano something dramatic, expressive, with a musical line. Despite this darker timbre keeps the freshness in the role. For my taste the best performer of all the cast.
