Academy of Vocal Arts, La Traviata, 2018 (Philadelphia, PA)
"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 bachlor’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
Merola Opera Program's Schwabacher Summer Concert, 2017 (San Francisco, CA)
"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
New York Premiere of James Primosch's "A Book of Hours", The Juilliard School, 2015 (New York, NY)
"...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."
-The New York Times
"The text, sung with ravishing melodic lines by soprano Alexandra Razskazoff, consisted of four poems by Rilke, one more agonizing than another. They could be fiercely emotional (the second and third), they could be elegiac, as in the first. And in the fourth poem, “I read it in your word...”, Ms. Razskazoff sung with a variety of feelings, ending with a heartbreaking lyrical duet ...”
Juilliard Opera Theater's Le nozze di Figaro, 2015 (New York, NY)
"...Razskazoff’s voice...[is] ample in size with an intriguing instrumental color..."
Peabody Conservatory's Dialogues des Carmélites, 2013 (Baltimore, MD)
"...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
Peabody Conservatory's Don Giovanni, 2013 (Baltimore, MD)
"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
Peabody Conservatory's The Crucible, 2012 (Baltimore, MD)
"Alexandra Razskazoff did vibrant work, vocally and dramatically, as Abigail [Williams]."
-The Baltimore Sun