"...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."
WASHINGTON CLASSICAL REVIEW
"As Marguerite, Razskazoff’s burnished soprano opened out to splendid posture."
“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.”
"Alexandra Razskazoff, a first year [AVA] 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.)"
"...Razskazoff’s voice...[is] ample in size with an intriguing instrumental color..."
"Alexandra Razskazoff did vibrant work, vocally and dramatically, as Abigail [Williams]."
DC METRO THEATER ARTS
"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."
THE BALTIMORE SUN
"On Friday night, 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.
Razskazoff was especially incisive in the scene when Blanche refuses her brother's entreaties to leave the convent."
THE BALTIMORE SUN
"As Donna Elvira, Alexandra Razskazoff sounded the readiest for primetime. The soprano's tone had an effective brightness, security and power, while her phrasing revealed a good deal of personality."