PRESS
In the news
MICAËLA | TEATRO MUNICIPAL DE SANTIAGO, CHILE
CARMEN
"Thus, soprano Alexandra Razskazoff (Micaëla) takes the lead in quality, with vigorous and expressive singing that lends a stronger personality to a character so often portrayed as timid."
CIRCULO DE CRITICOS DE ARTES DE CHILE
"Micaëla, performed by Alexandra Razskazoff: an interesting, somewhat dramatic soprano voice. Musical, expressive, with good technique, she performed the duet and important aria of the third act excellently."
EL MOSTRADOR- SANTIAGO
"Soprano Alexandra Razskazoff 's Micaëla was delicate, managing to generate a calm atmosphere amidst the turbulent third act."
ÓPERA ACTUAL
IN recital
Opera Index Winners Recital Series
OPERA INDEX COMPETITION | OPERA AMERICA
"We have written about soprano Alexandra Razskazoff for about nine years, admiring the way she gave consummate vocalism and dramatic artistry to such an amazing variety of roles as a student at Juilliard and as an Apprentice Artist at Santa Fe Opera... Ms. Razskazoff followed with a group of songs by Puccini, sung with delicacy and charm...We loved the expressivity of her voice, the delicate diminuendos, and the floated high notes which would be the envy of many a tenor. The sorrowful "Do not Sing to Me" by Rachmaninoff captured the extent of the poet's grief so successfully that we were more than close to tears... Ms. Razskazoff astonished us with the aforementioned breadth of tone in the cavatina "Tacea la notte placida" from Verdi's Il Trovatore in which Leonora sings of her love for Manrico. The cabaletta was exquisitely rendered."
VOCE DI MECHE
L'AMICO FRITZ
SUZEL | TEATRO GRATTACIELO, NYC
“Suzel was Alexandra Razskazoff, whose soprano was rich, distinctive of timbre, and penetrating, and possessed a lovely bloom on top.”
OPERA NEWS
“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.”
PARTERRE BOX
“Alexandra Razskazoff made a first-rate, stylish Suzel, singing with a striking lyric timbre.”
OPERA MAGAZINE (LONDON)
LA BOHÈME
Mimì
TEATRO MUNICIPAL DE SANTIAGO, CHILE
“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 Mimì.”
OPERA MAGAZINE (LONDON)
“Mimì, 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.”
EL MOSTRADOR (SANTIAGO)
VIOLETTA | ACADEMY OF VOCAL ARTS
la traviata
"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 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 CULTURAL CRITIC
IN CONCERT
Scenes as Nedda, Antonia
PALM BEACH OPERA
"Alexandra Razskazoff, a confident and powerful soprano, held her own in very physical scenes. She developed her character's intent and emotional journey within the short time span of each scene, and demonstrated chemistry with each of her scene partners...[she] processed a difficult character development with ease and high notes for days."
THE PALM BEACH POST
LUCREZIA BORGIA
LUCREZIA | MEROLA OPERA PROGRAM
"Alexandra Razskazoff, busy throughout the evening, had her star turn in the title role of Donizetti’s Lucrezia Borgia, and the soprano from Minnesota gave a vocally and dramatically impressive performance..."
SAN FRANCISCO CLASSICAL VOICE
"Soprano Alexandra Razskazoff (New Brighton, MN) was another standout as the title-villainess in Donizetti's "Lucrezia Borgia." Her coloratura skills were tested and proved in music from Act I, as her
character chanced upon her unwitting son Gennaro...."
BAY AREA REPORTER
RECITAL | THE JUILLIARD SCHOOL
"...At the Juilliard School’s Paul Hall, the New Juilliard Ensemble presented the New York premiere of Mr. Primosch’s “From a Book of Hours,” set to devotional texts Rilke first published in 1905...Alexandra Razskazoff gave a beautiful performance of this captivating work, which benefited as much from her richly faceted, slinky soprano as from the expressive clarity she brought to the German text. Art song requires a singer to lavish as much thoughtfulness and art on diction as on musical phrasing, and Ms. Razskazoff appears to have the makings of a great recitalist."
primosch: a book of hours
THE NEW YORK TIMES
messiah
Soprano soloist
COLUMBUS SYMPHONY ORCHESTRA
“The vocal star of the evening, though, may have been soprano Alexandra Razskazoff, whose lilting expressiveness elevated many passages. The soprano connected strongly with the audience, especially singing from the heart during “I Know That My Redeemer Liveth.”
THE COLUMBUS DISPATCH
LE NOZZE DI FIGARO
CONTESSA ALMAVIVA | THE JUILLIARD SCHOOL
"...Razskazoff’s voice...[is] ample in size with an intriguing instrumental color..."
OPERA NEWS
BLANCHE DE LA FORCE | PEABODY CONSERVATORY
DIALOGUES DES CARMÉLITES
"...Alexandra Razskazoff sang radiantly as Blanche. The soprano’s creamy timbre and vividly
communicative phrasing, not to mention nuanced acting, gave the character affecting depth."
THE BALTIMORE SUN
L'ARBORE DI DIANA
Britomarte
MINNESOTA OPERA | MARTÌN Y SOLER
"Of the nymphs, Alexandra Razskazoff, a Minneapolis native who was a Rhinemaiden in Das Rheingold last fall, led the way with high spirits and a radiant tone."
POST BULLETIN
DONNA ELVIRA | PEABODY CONSERVATORY
DON GIOVANNI
"As Donna Elvira, Alexandra Razskazoff sounded the readiest for prime time. The soprano's tone had an effective brightness, security and power, while her phrasing revealed a good deal of personality."
THE BALTIMORE SUN
"Razskazoff’s moment of foreshadowing occurs with a foreboding chill, her body writhing in uncertain agony as the notion of her nightmare and dawning realizations fill her head to the point of erupting... She is the stellar leading female among the three and is well deserving of an encore."
DC METRO THEATER ARTS
the crucible
Abigail Williams
PEABODY CONSERVATORY
"Alexandra Razskazoff did vibrant work, vocally and dramatically, as Abigail."
THE BALTIMORE SUN