"Soprano Alexandra Razskazoff got my attention and held it. Her voice demanded it. When it came time to cut, the spinto sliced through the tutti finale with a diamond blade of sound.

Her portrayal of Suzel was pure and warm, performing the “Cherry Duet” with an endearing innocence. I wanted the young maiden of the story to find love and happiness. I cared, and that was not the case with every character."

(Mascagni: L'amico Fritz, Teatro Grattacielo, NYC, 2021)


"Suzel was Alexandra Razskazoff, whose soprano was rich, distinctive of timbre, and penetrating, and possessed a lovely bloom on top."

(Mascagni: L'amico Fritz, Teatro Grattacielo, NYC, 2021)


"Alexandra Razskazoff made a first-rate, stylish Suzel, singing with a striking lyric timbre."

(Mascagni: L'amico Fritz, Teatro Grattacielo, NYC, 2021)


"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."


(Mascagni: L'amico Fritz, Teatro Grattacielo, NYC, 2021)


"If the other two principal roles had not been so well sung, we would have said that Ms. Razskazoff ran away with the show. What made her performance so outstanding was not just her sweet finely produced soprano voice but her acting. She completely embodied a shy young country girl trying to deal with a crush on a man of high social status."


(Mascagni: L'amico Fritz, Teatro Grattacielo, NYC, 2021)

"...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: "From a Book of Hours", NYC premiere, New Juilliard Ensemble, 2016)


"As Marguerite, Razskazoff’s burnished soprano opened out to splendid posture."

(Fall Gala, Maryland Lyric Opera Institute, 2020)


“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.”

(Handel: "Messiah", Columbus Symphony, 2018)


"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..."

(Schwabacher Summer Concert, Merola Opera Program, 2017)

"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.)"

(La Traviata: Violetta, Academy of Vocal Arts, 2018)


"...Razskazoff’s voice...[is] ample in size with an intriguing instrumental color..."
(Mozart: Le nozze di Figaro, Juilliard, 2015)


"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."

(Poulenc: Dialogues des carmèlites, Peabody Conservatory, 2013)


"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...."

(Schwabacher Summer Concert, Merola Opera Program, 2017)


"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."


(Mozart: Don Giovanni, Peabody Conservatory, 2013)


"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."

(Mozart: Don Giovanni, Peabody Conservatory, 2013)


"Alexandra Razskazoff did vibrant work, vocally and dramatically, as Abigail [Williams]."

(Ward: The Crucible, Peabody Conservatory, 2012)