Louise Alder

Winner of the Dame Joan Sutherland Audience Prize at the 2017 Cardiff Singer of the World Competition

Winner of the Young Singer Award at the 2017 International Opera Awards

© Gerard Collett


Louise Alder studied at the Royal College of Music International Opera School where she was the inaugural Kiri Te Kanawa Scholar.

In the 2020/21 season Louise makes her debut at the Wiener Staatsoper as Susanna Le nozze di Figaro, singing also Sophie Der Rosenkavalier and the title role in Massenet’s Manon. She also returns to the Bayerische Staatsoper as Susanna and to Madrid’s Teatro Real as Zerlina Don Giovanni.

Recent highlights on the concert platform have included Schumann’s Szenen aus Goethes Faust with the Royal Concertgebouw Orchestra/Sir John Eliot Gardiner, Messiah with the New York Philharmonic/Harry Bicket, the title role in Semele on tour with the the Orchestre Révolutionnaire et Romantique/Sir John Eliot Gardiner, Beethoven’s Symphony No. 9 with the Tokyo Philharmonic/Jonathan Nott, Mozart Arias at the Salzburg Mozartwoche with the Mahler Chamber Orchestra/Daniel Harding and the title role in Theodora at the BBC Proms and in the Wiener Konzerthaus with Arcangelo/Jonathan Cohen.

Recital appearances include the BBC Proms, Graz Musikverein and the Oper Frankfurt with Gary Matthewman, Wigmore Hall with both Joseph Middleton and James Baillieu and the Oxford Lieder Festival and Fundación Privada Victoria de los Ángeles in Barcelona with Sholto Kynoch.

From The Green Room


  • More info  
    FRENCH SONGS 'Chère Nuit'

    Label: Chandos

    Release Date: 02 Apr 21

    Soprano: Louise Alder
    Piano: Joseph Middleton

  • More info  
    STRAUSS 'Tod und Verklärung', 'Don Juan' & 'Sechs Lieder' Op. 68

    Label: Linn Records

    Release Date: 30 Aug 20

    Soprano: Louise Alder

    Deutsches Symphonie-Orchester Berlinin/Robin Ticciati

  • More info  
    THE RUSSIAN CONNECTION 'Lines Written During a Sleepless Night'

    Label: Chandos

    Release Date: 03 Jan 20

    Soprano: Louise Alder
    Piano: Joseph Middleton

  • More info  
    STRAUSS 'Through Life and Love'

    Label: Orchid Classics

    Release Date: 30 Jun 17

    Louise's debut recital disc

    Soprano: Louise Alder
    Piano: Joseph Middleton

  • More info  
    CESTI 'L'Orontea'

    Label: OEHMS Classics

    Release Date: 03 May 17

    Recorded live at Oper Frankfurt

    Orontea: Paula Murrihy
    Creonte: Sebastian Geyer
    Tibrino/Amore: Juanita Lascarro
    Aristea: Guy de Mey
    Alidoro: Xavier Sabata
    Gelonte: Simon Bailey
    Corindo: Matthias Rexroth
    Silandra: Louise Alder
    Giacinta: Kateryna Kasper
    Filosifia: Katharina Magiera

    Frankcurter Opern- und Museumsorchester/Ivor Bolton

  • More info  
    BRITTEN 'The Rape of Lucretia'

    Label: Opus Arte (DVD)

    Release Date: 29 Jul 16

    Fiona Shaw's production recorded live at the 2015 Glyndebourne Festival

    Lucretia: Christine Rice
    Male Chorus: Allan Clayton
    Female Chorus: Kate Royal
    Tarquinius: Duncan Rock
    Collatinus: Matthew Rose
    Junius: Michael Sumuel
    Bianca: Catherine Wyn-Rogers
    Lucia: Louise Alder
    Director: Fiona Shaw

    London Philharmonic Orchestra/Leo Hussain

  • More info  
    01 Oct 20 HANDEL Semele
    Monteverdi Choir & English Baroque Soloists/Gardiner (SDG CD)

    “Louise Alder stars brightly in Gardiner’s second, more complete recording of Handel’s musical drama.”
    The Best Albums of 2020, The Times, 10 December 2020

  • More info  
    09 Oct 20 Wigmore Hall Recital with Roger Vignoles (piano)

    “At the Wigmore Hall, the lovely soprano Louise Alder sang an outlandishly contrasting programme of German lieder and French mélodies, with the benign pianist Roger Vignoles as her accompanist, demonstrating a versatility no less remarkable than his singer with undeservedly neglected songs by Fanny Henschel (née Mendelssohn, Felix’s beloved sister) and Alban Berg’s expressionist, post-Mahlerian Seven Early Songs.

    Alder’s German is idiomatic and clearly articulated, the difficult intervals of Berg’s notes emerging like shining, polished diamonds, but her feeling for the witty, popular veins of Poulenc (Métamorphoses) and Satie (Trois Mélodies) is no less remarkable. She surprised us all, bringing her own apron and feather duster, and a young baritone (Julian van Mellaerts, winner of the 2017 Wigmore Song Competition), as her “husband” in Thérèse’s big solo from Les Mamelles de Tirésias, in which she rejects her female subordination and proclaims herself more virile than her man, by allowing her breasts (helium-filled balloons) to float up to the ceiling.

    Riotous comedy, uproariously done, but she reasserted her femininity with a sensuously suggestive, programmed encore of Satie’s Je te veux, succulently sung.”
    Hugh Canning, The Sunday Times, 18 October 2020

  • More info  
    17 Sep 20 STRAUSS Sechs Lieder, Op. 68
    Deutsches Symphonie-Orchester Berlin/Ticciati (Linn CD)

    “But it is perhaps the appearance of Louise Alder that is the greatest cause for celebration. My previous experiences of her have all been in Mozart: a terrific Susanna Figaro at English National Opera (review); and a lovely Zerlina Don Giovanni at the Royal Opera House, a beacon of light in a rather grim evening (the grimness thanks to the conductor: review). Mozart and Richard Strauss are often mentioned together in the same breath – one immediately thinks of the soprano  Elisabeth Schwarzkopf, equally at home in both. Perhaps the beauty of Alder’s voice brought about the comparison, too; she is as agile as they come, and perfectly attuned (remember Alder sang Sophie Rosenkavalier – to Kate Royal’s Countess – under Ticciati at Glyndebourne and at the Proms in 2014).

    Strauss’ Six Songs, Op. 26 are also sometimes known as the Brentano-Lieder (after the poet that provided the words, Clemens Brentano, 1778-1842). There is a freshness and freedom to Alder’s voice that captures the spirit of these songs impeccably; Ticciati is the perfect musical partner. Clearly, after their Rosenkavalier experiences, they sing from the same Lieder sheet (sorry). Love, Nature and spirituality are the themes of the first five songs (and how agile Alder is in the fifth, “Amor”); the final offering, “Lied der Frauen,” (Song of the Women) takes us into a different world, dark, glowering, containing the most astonishing harmonic explorations, and in a sense the perfect link to the Tod und Verklärung to follow.

    We should not forget Alder’s previous release of Strauss songs, this time with Joseph Middleton on piano, on Orchid Classics. But there’s something about this performance with orchestra of the Brentano-Lieder that confirms Alder’s status as a major star in the vocal firmament. This isn’t so much “a star is born,” as “a star is confirmed”.
    Colin Clarke, Classical Explorer, 17 September 2020

    “Wonderful Strauss from Ticciati; Louise Alder on top form…The recording is exceptional in its scope, dynamic range and detail.”
    Classical Explorer (17 September 2020)

    “The soloist here is Louise Alder, who came to international attention when she stepped in as Sophie in a BBC Proms performance of Der Rosenkavalier under Ticciati in the summer of 2014.”
    Presto Classical (11 September 2020)

  • More info  
    14 Mar 20 MOZART The Marriage of Figaro
    English National Opera

    “Soprano Louise Alder gives a terrific performance as Susanna… Not for nothing has Louise been heralded as “the brightest lyric soprano of the younger generation”. A fine actor and a superb singer she is one to watch.”
    John O’Brien, LondonTheatre1, 15 March 2020

    “Louise Alder was an irresistible Susanna, a beautifully judged mix of cartoon coquettishness and emotional depth.”
    Flora Willson, The Guardian, 15 March 2020

    “There’s delectable singing … from Louise Alder”
    Richard Morrison, The Times, 16 March 2020

    “Louise Alder is a dream Susanna, winning us over immediately with confidential reactions, naturalness and vocal warmth”
    David Nice, The Arts Desk, 16 March 2020

    “Her lyrical warmth is a huge asset … the sparky Susanna of Louise Alder – her last-act serenade simply sublime.”
    George Hall, The Stage, 16 March 2020

  • More info  
    03 Jan 20 RACHMANINOV, SIBELIUS, TCHAIKOVSKY, GRIEG, MEDTNER & BRITTEN The Russian Connection 'Lines Written During a Sleepless Night'
    (Chandos CD)

    “Alder displays her stylistic versatility in a challenging programme of songs.”
    The Best Albums of 2020, The Times, 10 December 2020

    “Since she won two major awards in 2017, Louise Alder’s star has been unstoppably in the ascendant. Over the coming months, this 33-year-old British soprano will be taking leading roles at the Coliseum and Glyndebourne, as well as making appearances in Vienna and San Francisco.

    Her success is not surprising: a high flier since her student days at the Royal College of Music, she has a beautifully clean, even and shining lyric soprano that projects with crystalline clarity, as well as a warm and attractive stage presence.
    More than that, she engages emotionally with what she sings, shaping vocal lines with rare sensitivity and a wide range of colours. This is her second recorded song recital, and it stands as an outstanding achievement that delivers as much as it promises.

    Inspired by her mother’s ancestral roots in Odessa, Alder and her marvellously resourceful and imaginative pianist, Joseph Middleton, have devised a strikingly original programme that travels through Russia and Scandinavia with songs both familiar and unfamiliar by Rachmaninov, Sibelius, Tchaikovsky, Grieg, Medtner and Britten.

    Alder avoids any hint of monotony in her interpretations. The delicacy and subtlety of Rachmaninov’s pastels are as honoured as the grand romantic sweep of Sibelius’s anthemic “Flickan kom ifrån sin älsklings möte”. Grieg’s Op 48 songs (in German) are rich in sweet melancholy – “Zur Rosenzeit” is particularly beautiful.
    The mood lightens with Tchaikovsky’s two wittily skittish Serenades and Medtner’s enchanting “Mailied”, but comes to a bleakly powerful climax with Britten’s cycle of six Pushkin texts The Poet’s Echo, composed in 1965 for his friend, the great Russian diva Galina Vishnevskaya.

    Britten spoke almost no Russian and worked from translations, but there is something visceral about his response to the texture of the language; it has been suggested it addresses the situation of artists working under Soviet censorship. The music’s declamatory intensity seems to reflect Vishnevskaya’s angry and volatile temperament.

    Without imitating her quirks and unreliable intonation, Alder rises to the challenge magnificently: the final song, which gives this album its title, is eerily bleak, underpinned by the piano ticking like a relentless clock that torments the feverish insomniac.
    Rupert Christiansen, The Telegraph, 20 January 2020

    “Here’s a really lovely disc from two of classical song’s brightest artists. The soprano Louise Alder and pianist Joseph Middleton start with Rachmaninov and end with Britten, taking in Sibelius, Grieg, Tchaikovsky and Medtner on the way; the music’s geographical progress mirrors the journey Alder’s great-grandparents made as refugees in 1916, from Odessa to Finland, Norway and finally Britain. Alder describes it as a “meandering sleigh ride”, though if that conveys the unhurried way in which these well-chosen songs lead into one another it doesn’t quite do justice to the focus with which they come across. Alder is in glorious voice, her soprano fresh and untethered; the assurance of youth and the doubt born of experience come across equally convincingly. Her high notes gleam, and her words are direct and communicative, whether in Russian, Swedish, German or French.

    Middleton’s playing fills in everything those words can’t say, perfectly calibrated to support Alder but huge in its expressive scope. There will be discoveries here for all but the most dedicated song aficionados, from Rachmaninov’s dreamy sensuousness and Sibelius’s melancholic ardour, to Tchaikovsky’s French numbers, which have an arch, almost salon-ish tinge. Grieg’s The Discreet Nightingale finds Alder and Middleton revelling quietly in the refrain’s delicious, knowing languor. Then there are two songs by Nikolai Medtner: a sparkling Mailied full of expectancy and the ominous Meeresstille that’s clearly about a loneliness more universal than that of the becalmed sailor of Goethe’s poem. The title track is the final song in Britten’s Pushkin cycle The Poet’s Echo, in which Middleton’s piano traces an eerie tick-tocking around Alder’s searching vocal line: a haunting end to a disc you will want to play again right away.”
    Erica Jeal, The Guardian, 23 January 2020

    “Alder is a terrific talent, combining a big, lustrous voice with flawless intonation and keen intelligence. The way she adjusts her timbre to suit her texts, from a bleached purity to illustrate the fading roses at the end of Grieg’s Zur Rosenzeit to soubrettish warmth for the Offenbach-like gaiety of Tchaikovsky’s Serenade, is very classy indeed.”
    Richard Morrison, The Times, 07 January 2020

    “My musical year’s got off to an apposite start with a journey through chilly climes in the company of British soprano Louise Alder: her first album for Chandos sees her exploring her family history with a programme of songs by Rachmaninov, Sibelius, Grieg, Tchaikovsky, Medtner and Britten alongside pianist Joseph Middleton, and this gloriously performed recital is my Recording of the Week … Shot through with glimpses of spring around the corner, this imaginatively-programmed and gloriously performed recital is the perfect companion for a long winter’s evening: if it gave me one or two ‘sleepless nights’ of my own, it was only because its many beauties continued to run through my mind well after lights-out.”
    {Full Review} Katherine Cooper, Presto Classical, 03 January 2020

    “2020 gets off to a cracking start for lovers of song with a new album from soprano Louise Alder, making her debut on the Chandos label, expertly accompanied by pianist Joseph Middleton. The pair impressed us back in 2017 with their disc of Richard Strauss lieder, ‘Through Life and Love’, for Orchid Classics, and this latest album has the same heady mixture of radiance, passion and musical intelligence that featured there. The connecting thread is part of Louise Alder’s family history: in 1916 her great-grandparents were forced by political unrest to emigrate from their home in Odessa, via St Petersburg, Finland and Norway, eventually reaching Britain. Alder and Middleton trace this journey through music and texts, and it makes for a uniquely compelling programme … Alder and Middlteon work together beautifully in capturing the delicacy of tone and radiance of textures.”
    {Full Review} Europadisc, 03 January 2020

  • More info  
    18 Dec 19 HANDEL Messiah
    New York Philharmonic Orchestra/Bicket

    “Best was Louise Alder, her lucid soprano softening for a tender “I know that my Redeemer liveth,” the accompaniment focused and quietly ardent. Here, near the end of an often pretty performance, was finally deep feeling.”
    Zachary Woolfe, New York Times, 18 December 2019

  • More info  
    16 Sep 19 MOZART Don Giovanni
    Royal Opera House, Covent Garden

    “Unusually prominent are the lower-class couple, with Louise Alder making light work of her two arias and teaming ideally with the easily outwitted Masetto of Leon Kosavic.”
    George Hall, The Stage, 17 September 2019

    “On the plus side in this revival…a lovely Zerlina, Louise Alder…”
    Tully Potter, Daily Mail, 27 September 2019

    “Louise Alder was a splendid Zerlina, fresh and delivering a lovely ‘Batti, batti’”
    Colin Clarke, Scene and Heard International, 17 September 2019

    “Louise Alder adds to her growing reputation with a radiantly sung and subtly acted Zerlina.”
    Richard Morrison, The Times, 17 September 2019

    “Louise Alder…suitably pure of tone for the role of Zerlina…”
    Gavin Dixon, The Arts Desk, 17 September 2019

    “Louise Alder also made an impression with her sweet-toned, crystal clear Zerlina, a delight in ‘Batti, batti, o bel Masetto’.”

    Dominic Lowe, Bachtrack, 18 September 2019

    “Louise Alder…is delightful in the role of the innocent Zerlina.”
    William Hartston, Express UK, 21 September 2019

    “And Louise Alder…made Zerlina a feisty, flesh-and-blood character through her energetic stage presence and full-blooded singing.”
    Culture Whisper, 17 September 2019

    “Louise Alder’s flighty Zerlina has winning charm…”
    Michael Church, Independent UK, 21 September 2019

    “British soprano Louise Alder’s (winner of the 2017 Young Singer award at the International Opera Awards) Zerlina [is] outstanding, warm and rich of voice…”
    Vera Liber, British Theatre Guide, 16 September 2019

    “Louise Alder’s Zerlina is a delight; by turns demure and duplicitous, she trills and colours with ease.”
    Holli-Mae Johnson, the Londonist, 17 September 2019

    “…Zerlina’s innocence is more knowing in Louise Alder’s account, as she…rises to some heights of vocal allure and ardour in her pair of notable arias.”
    Curtis Rogers, Classical Source, 16 September 2019

    “…the mischievous and flirtatious Zerlina [is] beautifully characterised here by Louise Alder…”
    Fiona Maclean, London Unattached, 18 September 2019

    “Louise Alder’s Zerlina was delightful and produced one of the outstanding performances of the evening.”
    TG Wells, A Pigs Life, 17 September 2019





  • More info  
    19 Aug 19 Cadogan Hall Recital for the BBC Proms with Gary Matthewman (piano)

    “Louise Alder has an extraordinarily relaxed and attuned relationship with Gary Matthewman, allowing each to shine. She brought wonderful tonal variety, a sense of drama and playfulness and real technical assurance, whilst he relished all the showy or descriptive qualities of the accompaniments.”
    Alexander Campbell, Classical Source, 19 August 2019

  • More info  
    02 May 19 HANDEL Semele
    Monteverdi Choir & English Baroque Soloists/Gardiner at Alexandra Palace Theatre

    “Here [Semele] was portrayed with sophisticated elegance by that shooting star among British sopranos Louise Alder. Crystalline in tone and prettily pouting, she made ‘O sleep why dost thou leave me’ glow with feline post-coital bliss and turned the bravura of ‘Myself I shall adore’ into an exhilarating game. A lovely performance.”
    Rupert Christiansen, The Telegraph, 03 May 2019

  • More info  
    07 Sep 18 HANDEL Theodora
    Arcangelo/Cohen at the BBC Proms

    “Louise Alder, radiantly assertive, played the title role, meanwhile, opposite Iestyn Davies’s ardent Didymus, their voices blending perfectly in their final duet.”
    Tim Ashley, The Guardian, 09 September 2018

    “This was quite a line-up of singers. Louse Alder, a member of Frankfurt Opera, was on radiant form. Handel’s extraordinarily daring writing with its use of fragmentary phrases separated by pools of silence in Theodora’s air, ‘Fond, flatt’ring world, adieu!’, Alder’s immaculate control and pure sound, and Arcangelo’s reciprocal control made this one of the most potent moments of the evening. Her ‘Angels, evert bright and fair’ was the epitome of grazioso performance, while she spun the long lines of ‘With darkness deep, as in my woe’ superbly. Alder remained fresh-voiced throughout the long evening, maintaining poise and dignity in her Part 2 farewell to Didymus.”
    Colin Clarke, Seen and Heard, 09 September 2018

    “Soprano Louise Alder, currently experiencing a meteoric rise, suited the role of Theodora perfectly. There are no vocal fireworks in this role (hence not much room for flamboyant embellishment either) and instead one needs boundless lyricism, which Alder certainly has. “Angels, ever bright and fair”, which Theodora sings as she is captured by Roman soldier Septimius, was heartbreakingly beautiful.”
    Nahoko Gotoh, Bachtrack, 11 September 2018

  • More info  
    13 Aug 18 HANDEL Samson
    Dunedin Consort/Butt at The Edinburgh Festival

    “soprano Louise Alder sparkled in smaller roles. Alder, of course, made her Festival debut with the Dunedin Consort two years ago as a last minute replacement for Danielle De Niese, singing Handel, and here she had cameos at the beginning and end, including a couple of a cappella moments and the score’s best known tune, Let the Bright Seraphim.”
    Keith Bruce, The Herald, 14 August 2018

  • More info  
    02 Jul 18 STRAUSS Der Rosenkavalier
    Glyndebourne Festival Opera

    “Louise Alder combined with [Richard] Jones (and revival director Sarah Fahie) to make Sophie a much more rounded, independent character than usual, and spun her long lines with matchless legato.”
    Roger Parker, Opera, August 2018

  • More info  
    01 Jun 18 MOZART Die Zauberflöte
    Garsington Opera

    “Louise Alder’s pure-toned, flawlessly accurate Pamina”
    George Hall, Opera, September 2018

    “Best of all, to my ears, is Louise Alder as Pamina. She is a rising star and you can easily see why. She sings with such apparent ease, grace and intelligence, and her acting is persuasive too.
    Richard Morrison, The Times, 04 June 2018

    “Alder’s Pamina found a new shade of tone and meaning in each phrase of her ‘Ach, ich fühl’s’ (amazingly, she’s also in the middle of a run as Sophie in Der Rosenkavalier at Glyndebourne).”
    Richard Bratby, The Spectator, 09 June 2018

    “[Benjamin] Hulett is in radiant voice and so is the Pamina of Louise Alder, a sought-after star who is also currently managing (goodness knows how) to be the alternate Sophie in Glyndebourne’s Der Rosenkavalier.”
    Mark Valencia, What’s on Stage, 01 June 2018

    “Louise Alder’s flawlessly controlled Pamina”
    George Hall, The Stage, 01 June 2018

    “Louise Alder’s singing as Pamina is unfailingly beautiful”
    Michael Church, The Independent, 02 June 2018

    “…this is as strong a cast as Garsington has ever fielded. Soprano Louise Alder (currently alternating Garsington’s Flute with performances of Der Rosenkavalier at Glyndebourne) brings just enough grit to the gloss of Mozart’s least interesting heroine. Her Pamina is sceptical, assertive – a bold figure in slacks among all the aprons and bonnets – who scoffs at a prince who could fall in love with a girl he has never met. She finds her match in Benjamin Hulett’s Tamino. Heroic of voice and presence (no crooning for his “Dies Bildnis”), he’s no fey princeling – a match if ever there was one for James Creswell’s luxurious Sarastro.”
    Alexandra Coghlan, The Arts Desk, 01 June 2018

    “Louise Alder sang a commanding Pamina, her passionate, urgent “Ach, ich fühl’s” complete with soaring top notes.”
    Mark Pullinger, Bachtrack, 01 June 2018

  • More info  
    20 Jan 18 Wigmore Hall
    Recital with James Baillieu (piano)

    “Superb young lyric soprano’s voice only grows in breadth and beauty. Rapture, ecstasy, ardour, and a few cheeky fumbles in the bushes – Louise Alder and James Baillieu’s Wigmore recital promised “Chants d’amour” and delivered amply, giving us love in all its bewildering, technicolour variety. From the heady eroticism of Bizet to the lazy, summer affections of Faure, the light, youthful lusts of Mozart to Strauss and Liszt’s mature desire, it was a programme calculated to stir both loins and ears. Alder’s star, very much in the ascendant in 2017 thanks to her exquisite Sophie in WNO’s Rosenkavalier, a scene-stealing Marzelline in the Proms Fidelio, as well as her Audience Prize win at Cardiff Singer of the World, continues its rise into the new year. This lyric soprano has a legato that carves beautiful lines through everything she sings, even finding a sensitive path through the obvious, voluptuous curves of some of Bizet’s more vulgar songs.”
    Alexandra Coghlan, The Arts Desk, 22 January 2018

  • More info  
    19 Oct 17 HANDEL Semele
    OAE/Rousset at the Royal Festival Hall

    “As Semele, Louise Alder (winner of the audience prize in Cardiff this year) suggested that she might have carried off the whole competition had she sung one of Semele’s show-stoppers, ‘Myself I shall adore’ or ‘No, no, I’ll take no less’. Her ravishing ability to tease and play with vocal decoration made her one of the role’s most entrancing interpreters I have heard since Valerie Masterson at Covent Garden and Rosemary Joshua at ENO. What a lovely artist this young soprano is, ideally suited to Handel’s sex-kittenish roles.”
    Hugh Canning, Opera, December 2017

    “Louise Alder is a star turn in Semele. If ever there were a Handel opera for an obsessively self-appraising younger generation, it would have to be Semele. Gazing into a handheld magic mirror, as though for a selfie, the eponymous princess, in her aria Myself I Would Adore, narcissistically sings her own praises. Louise Alder in this concert performance rose marvellously to the occasion, preening herself and emitting gasps of pleasure at her own beauty. Both here and in No, No, I’ll Take No Less, her phrasing was as sensual as her body language, with coquettish ornamentation enhancing a dazzling vocal line.”
    Barry Millington, Evening Standard, 19 October 2017

    “Louise Alder could hardly have been more right. A bewitching young soprano, whose rise to success has deservedly been rapid, she embodied Semele’s coquettishness, impetuosity and vanity; few singers could make the lavish coloratura of “Myself I shall adore” sound quite so naughty. Equally, she captured her character’s vulnerability. It was fascinating to watch the complex play of emotions on Alder’s face, even between her entries. And it was a delight to hear those emotions expressed in a voice so radiant.”
    Hannah Nepil, The Financial Times, 19 October 2017

    “Soprano Louise Alder set a new benchmark for ‘Myself I shall adore’ – Semele’s ecstatic paean of self-love – by pouting, tossing her curls in the mirror, and emitting little squeaks of delight, while delivering her technically demanding coloratura with exquisite control: a comedian with a golden sound.”
    Michael Church, The Independent, 19 October 2017 

    “Louise Alder’s interpretation of the role was winningly warm-hearted and bright, with a light touch in her coloratura that made the character appealing and by no means overbearing, but recognisably human.”
    Curtis Rogers, Classical Source, 18 October 2017

  • More info  
    30 Jun 17 STRAUSS 'Through Life & Love'
    Orchid Classics

    “The winner of this year’s Cardiff Audience prize brings gleaming tone and excellent diction to Strauss’s lieder.”
    100 Best Albums of the Year, The Sunday Times, 03 December 2017

    “Of all the new recordings I’ve heard this year, I’m not sure any has given such unalloyed pleasure as Louise Alder’s debut recital: an irresistible Strauss programme sung with a beguiling twinkle in the eye, keen intelligence and a voice of sparkling beauty. She’s brilliantly accompanied by Joseph Middleton.”
    Hugo Shirley, Gramophone (Pick of the Year), December 2017

    “Personal pride first: I was part of the Glyndebourne Study Day when Louise Alder made her professional Strauss debut, singing in the Presentation of the Rose and the Trio along with two other covers for Richard Jones’s production of Der Rosenkavalier. We’re lucky that Orchid Classics in conjunction with Benjamin Herbert Violins Ltd caught a lyric soprano so close to the beginning of her career. And they’re lucky too, that this coincided with her Audience Prize Award at the 2017 Cardiff Singers of the World Competition. Alder can do it all, and there already plenty of colours in the voice. Try one of the later Strauss Songs ‘Einerlei’, for bloom, range and soaring. And for long phrasing born of perfect breath control as well as secret rapture, ‘Waldeseligkeit’ is the one to sample. Joseph Middleton’s most delicate of pianissimos are a wonder, though he doesn’t always have to be so discreet – ‘Befreit’ could be bigger, and Alder makes it the climax of the disc. But these, and the slight wish that there were more of the Straussian strange here, like the Three Ophelia Songs, are small niggles given such a radiant debut.”
    David Nice, BBC Music Magazine, October 2017

    “This timely release is the debut album by the rising soprano widely tipped to win Cardiff Singer of the World this year — instead, she ran off with the Audience prize — after shining as Sophie von Faninal in Welsh National Opera’s recent Der Rosenkavalier. That Alder is a Strauss (and Mozart) soprano of rare gifts has been obvious for quite a while. Her radiant, silver-flecked-with-gold tone, long-breathed phrases and exquisitely floated high notes are a prerequisite for this repertoire, but she also has excellent German diction — a product, no doubt, of her work in Oper Frankfurt’s ensemble. Channelling Schumann’s Frauenliebe und -leben cycle, she divides her thematic programme into sections entitled Youth, Longing, Passions, Partnership, Motherhood, Loss and so on, but includes Strauss hits such as Nichts (Nothing), Meinem Kinde (To my child), Ruhe, meine Seele (Rest, my soul) and Zueignung (Dedication). To these she brings vivid interpretative qualities, aided by her superb pianist, who relishes the rippling arpeggios of Ständchen (Serenade). With experience, she will find more colour and inflection, but this is a remarkable debut.”
    Hugh Canning, The Sunday Times (Album of the Week), 16 July 2017

    “5***** A popular choice for the audience prize at the 2017 BBC Cardiff Singer of the World and a superb Sophie in WNO’s recent Der Rosenkavalier, Louise Alder has captured hearts in Wales and beyond. This disc of Richard Strauss songs comes at just the right moment in her ascent towards stardom…Some of the nearly two dozen choices are familiar, such as Zueignung, which she sings with unusual and touching introversion and contemplation. All are sung with vivid narrative skill, rich in colour and detail, and with a stunning purity of tone on long notes (as in the “Ruhe” of Ruhe, meine Seele!).”
    Fiona Maddocks, The Observer, 25 June 2017

    “Of the two UK finalists in BBC Cardiff Singer of the World last weekend, many felt the English soprano Louise Alder stood a better chance than the Scottish mezzo Catriona Morison. Alder commanded the stage with unfeigned confidence, a breeziness that shines through this, her well-timed debut recording. The repertoire is bold, as well. Songs by Richard Strauss are not for wallflowers. Everything has to be just-so, shimmering on the surface and hinting at Freudian urges below. Alder, who made an opera debut as Glyndebourne’s stand-in Sophie in Der Rosenkavalier in 2014, sounds undaunted by anything Strauss can throw at her. Accompanied a little cautiously by Joseph Middleton, she groups the songs in a kind of ages-of-woman cycle, going from youth to yearning, passion to loss. If brightness comes naturally to her voice, the darker colours of Sehnsucht and Allerseelen reveal a range of expression and a genuine virtuosity that promises great developments ahead. Above all, her voice is — unlike so many singers at the start of their journey — instantly likeable. It has a winning quality that makes us want her to succeed. An hour of Strauss can leave one feeling bloated. Ms Alder leaves you wanting more. At Cardiff, she won the audience vote. Ms Morison won the judges’ verdict. There cannot have been much in it. We will hear lots more of both.”
    Norman Lebrecht, Musical Toronto, 23 June 2017

    “Summer suddenly became very hot for soprano Louise Alder. A date change meant that she was juggling singing Sophie in Welsh National Opera’s production of Der Rosenkavalier with representing England in the Cardiff Singer of the World competition, followed this month by launching her debut recital recording Through Life and Love, on Orchid Classics. With a father who is a singer, a violinist mother and a fast-developing career of her own, she is used to tough performing schedules. Going into the recording studio was a more relaxed matter. ‘I was given completely free rein by Orchid Classics,’ she says, ‘[Pianist] Joe Middleton and I decided to go with Strauss because I feel such an affinity with his vocal writing. I have sung quite a few Strauss songs but Joe showed me loads more and I put them into a story of a woman’s live of love from youthful hope through motherhood and seduction to after a partner has died.’ Strauss also featured in her Singer of the World programme which originally was meant to follow her WNO run but actually occurred in the middle of it. As a teenager Alder was aiming to follow her mother’s example. ‘I really loved chamber music but I didn’t like practising, and if you want to be a violinist you really have to practise. As a singer you have to do lots of other things as well as practising.’ The turning point was studying with Patricia MacMahon at Edinburgh University, and she credits the 2014 Rosenkavalier performance at the Proms and joining Frankfurt Opera as giving her a solid stage grouding.”
    Classical Music Magazine, July 2017

    “Now Alder has come out of the blocks with an all-Strauss album, Through Life and Love. It suggests that the soprano won’t stay out of the spotlight on these shores for much longer. In an astute selection of lieder, Alder combines youthful sparkle with artless and affecting sincerity. It’s a shame that her label supplies none of the texts, because Alder teases out many lovely things from the German poetry, but she is such an empathetic performer that it’s not a deal-breaker. Riding a trend for more thematic programmes of German art-song, Alder and her equally accomplished accompanist, Joseph Middleton, chart an emotional journey from youth to love, motherhood to loss, closing with the theme of “release”, which includes two of Strauss’s most glorious numbers, Zueignung and Allerseelen. Alder’s voice floats beautifully over Middleton’s piano; the ideal Strauss voice perhaps has a lick more cream, but she finds wonderfully expressive range here, tease and wit in the more carefree numbers, melancholic poise when Strauss sets more anxiously existential verses.”
    Neil Fisher, The Times, 30 June 2017

    “Louise Alder has had a busy Summer, singing Sophie in Olivia Fuchs new production of Der Rosenkavalier at Welsh National Opera (see my review) whilst simultaneously taking part in BBC Cardiff Singer of the World (where where she took the Audience Prize), plus of course the release of this disc of Richard Strauss’s songs, accompanied by Joseph Middleton, on the Orchid Classics label. The songs selected come mainly from the 1890s, there are well known songs here such as Zueignung, Allerseelen and Heimliche Auufforderung along with many not so regularly performed. Louise Alder has very much a Sophie voice, a lyric soprano notable for its firmness of line, brightness and fluidity. In her introduction to the CD she talks about how she discovered Strauss’s songs, via Elisabeth Schwarzkopf’s recordings, at the age of 16 and that she jumped at the chance to record his songs for her debut disc. She sings with bright, forward tone and a lovely vibrant quality. This is combined with a deep feeling for the words so the songs really leap out at you. The songs are not recorded chronologically but thematically making a satisfying progress from Youth: Das Mädchen, through Longing: Sehnsucht, Passions: Leidenschaft, Partnership: Liebe and Motherhood: Mutterschaft to Loss: Verlust and Release: Befreiung. Throughout the songs I was impressed how Alder constantly combined the many lyrical beauties of her voice with vivid characterisation. words are always to the fore, as is a feeling for character and the distinctive tint of each song. Wisely she avoids the ones needing a more refulgent tone. There will be time to record those later. And what we get is an intelligent Sophie’s-eye view of the songs. That is not to say that the performances are cool, songs like Wie sollten wir geheim sie halten are full of vibrant energy whilst there is quiet rapture in Das Rosenband and Die Nacht. And Strauss’s more complex vocal lines, such as Muttertänderlei are given with an admirable sense of east. But it is the words that I come back to, the sense of great engagement which however never compromises the musical qualities of Alder’s line. Joseph Middleton is a superb partner bringing out the richness of Strauss’s piano writing, and aptly complementing Alder. Strauss’s accompaniments are very orchestral and Middleton really does explore their full range of colours and textures. I do hope that Louise Alder records more Strauss songs, but this recital makes an enchanting beginning.
    Robert Hugill, Planet Hugill, 29 June 2017

    “Elisabeth Schwarzkopf gab mit ihrer Aufnahme der „Vier letzten Lieder“ den entscheidenden Anstoß für wohl schon viele aufkeimende künstlerische und sonstige (musikalische) Liebesverhältnisse. Louise Alder war 16, als sie durch die geniale Strauss-Sängerin Schwarzkopf die Entdeckung machte, dass wohl kaum ein anderer Komponist eine ekstatischere und emotionalere Musik geschrieben hat. Youtube sei Dank, konnte sich die junge Britin die Rosenüberreichung und das Rosenkavalier Schlussduett anhören so oft sie wollte. 2014 war es dann soweit, das Cover Alder hat die Chance als Einspringerin beim Glyndebourne Festival gut genutzt – eine neue Sophie ward geboren. Was liegt daher näher, als dass sich die noch dazu blendend aussehende Louise Alder für ihr Debüt-Album Lieder von Richard Strauss gewünscht hat. Die aufstrebende Sängerin gruppiert hauptsächlich bekanntere Lieder, aber auch einige Raritäten rund um die Themen Mädchen, Sehnsucht, Leidenschaft, Liebe, Mutterschaft, Verlust und Befreiung. In den insgesamt 23 Liedern kann Alder all ihre musikalische Vorstellungskraft einbringen. Das Ensemblemitglied der Frankfurter Oper verfügt über eine immense Begabung zu narrativem Ausdruck. Da kommt es nur gelegen, dass sie sich im Liedgesang mit ihren frischen Stimmfarben gehörig austoben kann. Strauss kann gläsern, kühl-instrumental oder schwärmerisch, üppig, sinnlich gesungen werden. Alder gehört zweifelsohne zu letzterer Kategorie. Ihre Lust am Spiel mit dem Text, ihr Sinn für den ganz eigenen Humor des bayerischen Tonsetzers machen das Anhören genau so reizvoll wie die hohe Legato- und Klangkultur der Sängerin. Und da ist vor allem von der ersten Note an jene Leidenschaft, jene Unbedingtheit im Vortrag herauszuhören, die sofort aufhorchen lassen. Der Musikfreund lauscht dem Ständchen mit schlagendem Herzen, heimlich in Waldseligkeit zur Sehnsucht aufgefordert. Ach was Kummer, Qual und Schmerzen, breite ich über mein Haupt die Leidenschaft, wie sollten wir geheim sie halten? Das Rosenband schwebt in nachtgängigem Einerlei. Rote Rosen meinem Kinde. Die Nacht befreit zur Ruhe, meine Seele. Zueignung, Weihnachtsgefühl und Allerseelen hallen noch lange in des Genießenden Ohr. Joseph Middleton, Professor an der Royal Academy for Music, begleitet zupackend und detailreich. Von Louise Alder, die mittlerweile auch schon Glyndebourne, das Royal Opera House, die Proms und die Welsh National Opera erobert hat, werden wir sicher noch viel hören. Ihre Debüt-CD ist schon einmal ein großartiges Versprechen.”
    Dr. Ingobert Waltenberger, Der Neue Merker

  • More info  
    25 Jul 17 Wigmore Hall
    Recital with Gary Matthewman (piano)

    “We anticipated a Ukrainian barihunk singing Tchaikovsky, but ended up with an English rose singing Strauss. “Travel problems” detained Andrei Bondarenko from making his Wigmore Hall recital, his place taken at very short notice by Louise Alder, whom I last saw here in February. During the intervening months, Alder has been busy: a deserved finalist in the BBC Cardiff Singer of the World, winning the Audience Prize; releasing her first solo recording; singing a divine Sophie in WNO’s Rosenkavalier. On Friday, she sang Marzelline at the Proms. Not a soprano to let the grass grow under her feet.

    Alder’s recital was rich and varied, without duplicating anything from her February programme. A French and Italian first half gave way to Strauss and Britten in the second. She has remarkable poise for such a young performer. Singing without scores, often resting her right hand on the piano, she has a confident platform manner, surveying the audience and seemingly making eye contact with each and every one of us. Her singing is assured too – silvery rather than peaches and cream, but flecked with steel to give her essentially lyric soprano real dramatic edge in this small venue.

    She was partnered by the excellent Gary Matthewman, originally scheduled for Bondarenko but a frequent Alder collaborator. It’s impossible to convey the sheer sense of enjoyment Matthewman expressed in this programme. He is more than just an attentive accompanist, relishing the virtuosic opportunities in Liszt’s Three Petrarch Sonnets, grinning impishly in Debussy’s naughty Au clair de la lune quotation in the introduction to Pierrot. I’ve rarely seen a pianist have such fun in a song recital.

    I could have listened to Alder sing Reynaldo Hahn all evening. Alas, we only had two numbers but her melting opening lines of À Chloris won me over immediately. Debussy’s Quatre chansons de jeunesse provided her with the chance to display humour in lighter, brighter fare, as did a couple of Poulenc songs where Alder kept up with a torrent of text. Her Italian is inflected by rather English vowels at present, but the Liszt songs displayed no holds barred drama, especially the weighty chest register for the line “mi spiace morte e vita” in Pace non trovo. The third song, I’vidi in terra angelici costumi (Sonnet 123), ended with Alder tapering her soprano down to a beautifully veiled tone, Matthewman’s postlude gloriously hushed.

    Richard Strauss’ sumptuous song repertoire fits Alder like a glove, from the three degrees of madness in the Ophelia songs to the comforting repose of Morgen, the latter the highlight of the entire evening, dreamily phrased (both soprano and pianist) and causing several dreamy sighs. Ständchen was bright-eyed and dewy-toned, Zueignung tender and sincere. Britten’s verbose On this island, to poetry by W.H. Auden, is a harder challenge to bring off, and diction sometimes slipped in the higher reaching passages. Nocturne came off best, its sinister undertones weighing heavily in the dark colouring of the closing stanza. The bittersweet comedy of George from William Bolcom’s Cabaret Songs made a fitting encore to this polished, wide-ranging recital.”
    Mark Pullinger, Bachtrack, 23 July 2017

  • More info  
    25 Jul 17 BEETHOVEN Fidelio
    BBC Philharmonic/Mena at the BBC Proms

    “The other exceptional singers were the young lyric couple, Benjamin Hulett’s eager Jaquino and Louise Alder’s peachily sung Marzelline. Her Act I aria was an early highlight. Once craved more but Beethoven doesn’t oblige.”
    Hugh Canning, The Sunday Times, 30 July 2017

    “Thank heavens for more spark from Louise Alder (Marzelline), Benjamin Hulett (Jaquino)”
    Richard Morrison, The Times, 24 July 2017

    “Only the three not-so-long graduated young Brits in the cast offered perfection. Alder, having made her surprise Proms debut three years ago stepping in as the Glyndebourne cover Sophie in Der Rosenkavalier, has deservedly shot to fame since then, winning the Dame Joan Sutherland Audience Prize at the BBC 2017 Cardiff Singer of the World Competition, and she owns the stage. Her launch of the great canon-quartet “Mir ist so wunderbar” provided the one truly moving moment of the evening.”
    David Nice, The Arts Desk, 22 July 2017

  • More info  
    27 Jun 17 MONTEVERDI Vespro della beata Vergine
    Academy of Ancient Music/Robert Howarth,

    “stunning soprano Louise Alder, whose operatic vivacity brought a wonderful dynamism”
    Olivia Bell, Bachtrack, 25 June 2017

  • More info  
    22 Jun 17 Cardiff Singer of the World Competition BBC National Orchestra of Wales/Thomas Søndergård
    St David's Hall

    “If the prize were to have been awarded on the strength of stamina alone, then it would surely have gone to English soprano Louise Alder. As well as the two initial rounds that took her through earlier in the week, she sang in both finals, and was also on stage at Cardiff’s Millennium Centre on 10 and 17 June, performing the role of Sophie in Welsh National Opera’s Der Rosenkavalier. Alder did it all with polish, verve, style, fearlessness, personality and musical accomplishment. Shouldn’t that have been enough to win the prize? For those voting online, it was certainly enough for her to clinch the audience prize.”
    Rian Evans, The Guardian, 19 June 2017

    “The other singer to leave with a prize was Londoner Louise Alder, who picked up the Dame Joan Sutherland audience prize. Her quite unique programme gave us Bellini (I puritani), André Previn (A Streetcar Named Desire) and Léhar (Giuditta)….the Bellini she sang with great elegance in the smooth contours of her wonderfully fluid soprano. Her account of Meine Lippen, sie küssen so heiss was relatively tasteful while still squeezing a good deal of rubato licence from the music. Her apparently effortless closing top B was a joy, especially when one remembers that after competing in the Song Prize on Friday night she sang Sophie in WNO’s Rosenkavalier in Cardiff Bay in a remarkable feat of stamina.”
    Rohan Shotton, Bachtrack, 21 June 2017

  • More info  
    05 Jun 17 STRAUSS Der Rosenkavalier
    Welsh National Opera

    “She captivates from the moment she runs on, infatuated, bespectacled, to meet her prospective bridegroom. Her voice is rich for an ingénue, silvered but plated with gold as she soars ecstatically through the high-lying Presentation of the Rose scene…”
    Hugh Canning, The Sunday Times, 11 June 2017

    “…the feisty acting of Louise Alder as Sophie. Alder made this an excellent company debut, the voice bright, silvery and supple.”
    Rian Evans, Opera, August 2017

    “Louise Alder’s Sophie sparkles from the start, in touchingly exaggerated spontaneity at the thought of marriage to never mind who, then vibrant emotion at the real possibility of Octavian. Her singing, effortlessly lyrical, would surely have sent the composer into raptures.”
    Stephen Walsh, The Arts Desk, 13 June 2017

    “Louise Alder is joyous as an effervescent and intelligent Sophie”
    Rebecca Franks, The Times, 06 June 2017

    “British singers Louise Alder and Rebecca Evans both excelled as the loves in Octavian’s life, representing the vernal and the autumnal respectively. Alder, recently crowned young singer of the year at the International Opera Awards, was a dream of a Sophie: a gawky, impressionable girl at first, then ever more gracious as her confidence grew. The young soprano’s voice has an expressive purity that augurs well for her forthcoming appearance at the Cardiff Singer of the World competition.”
    Mark Valencia, What’s on Stage, 05 June 2017

    “…a vocally outstanding Louise Alder…”
    Steph Power, Opera Now, July/August 2017

    “More arresting were the delicious Louise Alder as an adorably ardent Sophie and in particular Brindley Sherratt as a Baron Ochs quite brutally repellent in his spivvy venality but never caricatured and always crisply projected.”
    Rupert Christiansen, The Telegraph, 05 June 2017

    “…it felt appropriate that, with [Rebecca] Evans’s graceful assumption of the older woman’s role, Sophie was sung by a young soprano whose career looks to follow a similarly stellar trajectory. Louise Alder’s sparkling soprano has great poise and assurance and her warm reception was richly deserved.”
    Rian Evans, The Guardian, 05 June 2017

    “the virginal Sophie (a delightfully forthright Louise Alder)”
    Steph Power, The Stage, 05 June 2017

  • More info  
    18 Oct 16 MOZART Don Giovanni
    Glyndebourne on Tour

    “Louise Alder’s energetic assumption of the role…her chirpy soprano was silkily deployed for a no holds barred seduction in “Batti, Batti”; her Zerlina knew exactly what she wanted and how to get it.”
    Dominic Lowe, Bachtrack, 17 October 2016 

    “Louise Alder and Božidar Smiljanić a deliciously dysfunctional Zerlina and Masetto, both singing beautifully while she manipulates him and he traduces her, there is not a weak link.”
    Mark Valencia, What’s on Stage, 26 October 2016 

    “[One of] the strongest characters here [is]  Louise Alder’s drama queen Zerlina.”
    Clare Colvin, Express, 30 October 2016

    “Louise Alder, as easy on the eye as on the ear, gave exemplary accounts of ‘Batti, batti’, ‘Vedrai carino’ and her contribution to ‘La ci darem’.”
    Hugh Canning, Opera, December 2016

    “Louise Alder was a suitably coquettish and charming Zerlina.”
    Curtis Rogers, Classical Source, 13 November 2016 

  • More info  
    18 Oct 16 BRITTEN The Rape of Lucretia
    Opus Arte (DVD)

    “Louise Alder makes a strong impression as Lucia, her fresh, agile, radiant soprano a delight.”
    Christopher Ballantine, Opera, November 2016

  • More info  
    15 Aug 16 HANDEL Il delirio amoroso
    Dunedin Consort/John Butt at the Edinburgh Festival

    “EIF 2016 has already boasted many successes, but the solo debut of soprano Louise Alder is a very special story indeed. Drafted in at a day’s notice to replace the indisposed Danielle de Niese for an all-Handel programme with Scotland’s award-winning Dunedin Consort under the direction of Glasgow University’s Professor John Butt, the former Edinburgh University student grabbed her opportunity with both hands, winning an audience response to her first appearance that threatened to bring the recital to a standstill after just half an hour. In fact the young singer adopted nearly all of the programme as advertised, her particular qualification being a familiarity with the composer’s rarely heard Opus 99 Il delirio amoroso which formed the second half of the concert. It was superb, her Italian diction and interaction with ensemble leader Huw Daniel and the other instrumentalists exemplary, but far-from-disappointed ticket-holders were already eating out of her hand by then. In her single bold repertoire change to the slightly re-ordered programme, Alder prefaced de Niese’s choice of Da Tempeste from Giulio Cesare with the aria Piangero la sorte mia (I will lament my destiny), arguably an even more expressively demanding aria from the same opera. It was after that coupling that the ovation erupted, and her version of Lascia ch’io pianga – from Rinaldo and one of Handel’s greatest hits, present on many an opera sampler – was still to come. She garnished that with some very tasteful and thoughtful ornamentation.The musicians, of course, provided the sort of muscular and passionate playing that Butt’s direction demands, as listeners to BBC Radio 3 can hear when the concert is broadcast on Monday. Come Saturday they can hear Alder sing Mozart with the BBC SSO and Ilan Volkov at the Proms. She is having some week.”
    Keith Bruce, Herald Scotland, 14 August 2016

  • More info  
    21 Jun 16 MOZART Idomeneo
    Garsington Opera

    “As Ilia, Louise Alder made each of her arias a wonderfully telling glimpse of the human heart.”
    Rebecca Franks, The Times, 23 June 2016

    “Louise Alder’s Ilia was a vulnerable, sweet-toned princess…she sang ‘Se il padre perdei’ with real style.”
    Melanie Eskenazi, MusicOHM, 20 Jun 2016  

    “It certainly isn’t difficult to care for this production’s exceptionally affecting Ilia from Louise Alder, whose softly iridescent soprano constantly impresses. Her ‘Zefiretti’ aria soared calmly across the pattering of rainstorms outside on a thoroughly wet night at Wormsley.”
    Charlotte Valori, Bachtrack, 21 June 2016

    “I have heard no finer, no more moving Ilia than Louise Alder’s, taking its leave from words and music alike, and above all from the alchemic synthesis of the two.”
    Mark Berry, Opera Today, 22 June 2016 

    “…Louise Alder’s gentle lyricism…”
    George Hall, The Stage, 23 June 2016 

    “The singing is exceptionally strong, and the three female leads are superb. The portrayal of Louise Alder as Ilia [is] characterised by a purity of line. There is a beautiful sweetness and lightness to Alder’s tone…”
    Sam Smith, Classical Source, 22 June 2016 

    “…soprano Louise Alder a determined yet touching Ilia…”
    Mark Valencia, What’s on Stage, 23 June 2016 

    “The voices of Louise Alder (Ilia) and Caitlin Hulcup (Idamante) play off each other with graceful intensity.”
    Michael Church, The Independent, 29 June 2016

    “Louise Adler’s Ilia was sweet-toned and beguiling, though also clearly a musical force capable of withstanding the onslaught of events as they conspire against the character before she and Idamante are finally vindicated.”
    Curtis Rogers, Seen and Heard, 30 June 2016 

    “Louise Alder and Caitlin Hulcup are hugely appealing as the young lovers, Ilia and Idamante, and their love duet in Act 3 is one of the most glorious moments in the entire opera, wonderfully joyful and life-affirming.”
    Tim Hughes, The Oxford Times, 05 July 2016 

    “Best of all was Louise Alder’s Ilia, the Trojan princess accidentally besotted with the enemy. Her light, flexible soprano was ideally suited to the role and venue, her ornamentation lucid, her tone flawless.”
    Flora Wilson, The Guardian, 07 July 2016

    “Caitlin Hulcup’s Idamante, all adolescent awkwardness and intensity, overflows with ardour for his beloved Ilia, reciprocated with shy delight by Louise Alder. Dramatically it’s a near-perfect pairing, finding the youth and even the silliness in two lovers whose sophistication is only a veneer painted on by suffering. Vocally, too, from Hulcup’s impassioned ‘Non ho colpa’ to Alder’s ‘Zeffiretti lusinghieri’, defiant in its radiant beauty, these are exceptional performances that rise to the challenge of conductor Tobias Ringborg’s speeds and forward-thrusting musical momentum.”
    Alexandra Coghlan, The Spectator, 06 July 2016 

    “Louise Alder’s Ilia was terrific, fully up to the challenges of the role and singing with appealingly youthful, but powerful tone.”
    Hugo Shirley, Opera, August 2016

  • More info  
    26 Apr 16 JANACEK The Cunning Little Vixen
    Oper Frankfurt

    “Für die junge englische Sopranistin Louise Alder war die Partie des Füchsleins ein Debüt, das Fuchsrot des frechen Vamps stand ihr bestens. Ihr Sopran verfügt einfach über die richtige Frische, und er klingt trotzdem warm dabei. Und beweglich ist nicht nur ihre Stimme: Mit ihrem Fuchs-Partner Jenny Carlstedt balgte sich Louise Alder auf bestens balanciertem Grat zwischen human und animalisch.”
    Stefan Schickhaus, Frankfurter Rundschau, 26 April 2016 

    “Die in jedem Moment textverständliche Louise Alder gestaltet die Rolle der Füchsin Schlaukopf mit jugendlichem Temperament und stimmlicher Strahlkraft.”
    Christiane Franke, Opernnetz, 26 April 2016 

    “Die Titelpartie in der Premiere sang das junge Ensemble-Mitglied Louise Alder. Louise Alder gab zudem ihr Rollendebüt des Füchslein Schlaukopf, dessen Partie sie auf Tschechisch solide und sicher sang. Mal reißerisch, wild und wütend, dann auch von unterwürfiger Zuneigung zum Förster erfasst, wechselte Louise Alder stimmlich flexibel zwischen den Stimmungsmodi der temperamentvollen Füchsin hin und her. Das energetisch wilde Spiel, mit dem sie ihre Rolle gestaltete, wünschte man sich dennoch mehr im Gesang zu hören.”
    Stephan Eckel, Bachtrack, 25 April 2016 

  • More info  
    04 Apr 16 HANDEL Giulio Cesare
    Oper Frankfurt

    “Louise Alder proved an enchanting Cleopatra, alluring, seductive, despairing and singing with enviable heart and virtuosity for such a young artist. She’s already one of the most polished lyric sopranos around and one eagerly awaits more Handel (and Mozart) assignments for her in the UK.”
    Hugh Canning, Opera, June 2016

  • More info  
    26 Oct 15 LUIGI ROSSI Orpheus
    Royal Opera House, Covent Garden, at the Sam Wanamaker Playhouse

    “[Rossi’s] Orpheus puts [Euricide] centre stage and gives Louise Alder the meatiest role of all – and she eats it up. Wonderfully passionate in her anger towards Aristeus, the thwarted suitor who poisons her, this committed singing actress is a special communicator as well as a radiant soprano. Her death aria is deeply moving and transcends the indulgences of Christopher Cowell’s translation.”
    Mark Valencia, What’s on Stage, 25 October 2015 

    “Louise Alder is the feisty Eurydice, who has much more to do in this Orpheus opera than in most others.”
    Andrew Clements, The Guardian, 25 October 2015 

    “Louise Alder’s Eurydice is the pick of the singers for the sublime parts. The set of emotions she has to project isn’t exactly complex, but she puts across Eurydice’s fidelity and despair in an engaging manner, helped by a sweet voice, spot-on intonation and well-turned phrasing.”
    David Karlin, Bachtrack, 24 October 2015 

    “Louise Alder is a winning Eurydice.”
    Rupert Christiansen, The Telegraph, 24 October 2015 

    “Louise Alder, who most recently sang the maid Lucia in Fiona Shaw’s production of The Rape of Lucretia, turns in an incandescent, richly coloured and urgent performance, which confirms her as the brightest lyric soprano of the younger generation (fresh from covering Sophie in Glyndebourne’s Der Rosenkavalier and singing the role at the Proms, she joined the ensemble of Frankfurt Opera and has already performed major roles there). Her passacaglia-aria and death scene would have been outstanding in any opera, any production; how consummately, too, she handled the dream sequence – hauntingly staged – and the tragicomic scene in which Euridice refuses to have the fatal snake venom sucked out of her by Venus-backed Aristaeus.”
    David Nice, The Arts Desk, 24 October 2015 

    “Best of all, though, was Louise Alder’s radiant Eurydice. To her dying lament she brought a pathos and stillness that, after the high jinx of the first act, came as quite a shock.”
    Hannah Nepil, Financial Times, 26 November 2015 

    “There are memorable individual contributions, nevertheless, [including] Louise Alder’s Eurydice.”
    George Hall, The Stage, 29 October 2015

    “Louise Alder’s richly coloured Eurydice: Alder showed both excellent breath control and musical intelligence in crafting the rolling vocal phrases, recognising the nuances that the small chromatic inflections can bring about, enriching the lines as they evolved. The contrast between the diminishing pianissimo vulnerability and the rhetoric outbursts in fear of death that marked Eurudice’s dying moments was incredibly touching.”
    Claire Seymour, Opera Today, 01 November 2015 

    “[A] standout performances from Louise Alder as Eurydice”
    Fiona Maddocks, The Guardian, 01 November 2015

    “Louise Alder’s Eurydice – the focus of the story in Buti’s rewriting – commanded and cajoled her beloved with all the tonal warmth and expressive range she had demonstrated in her unexpected Proms turn as Sophie in last year’s Rosenkavalier, even in a role that denied her much use of her exciting upper register.  She held the dramatic centre among all [Keith] Warner’s stage business, creating a much-needed centre of gravity for this irrepressible show.”
    Alexandra Coghlan, Opera, January 2016

  • More info  
    26 Oct 15 MOZART Le nozze di Figaro
    Oper Frankfurt

    “Die jungen Sänger aus dem Ensemble bzw. Opernstudio begeisterten mit Elan und schönen Stimmen, die gleichermaßen zu loben sind. Allen voran Kihwan Sim (Figaro), Louise Alder (Susanna), Iurii Samoilov (Graf) und Nina Tarandek (Cherubino).”
    Frankfurter Neue Presse, 06 October 2015

  • More info  
    06 Jul 15 BRITTEN The Rape of Lucretia
    Glyndebourne Festival Opera

    “Louise Alder’s youthful, impetuous Lucia completed this outstanding ensemble cast.”
    Melanie Eskenazi, Music OMH, 06 July 2015

    “Lucia [is] strongly taken by Louise Alder.”
    Rupert Christiansen, The Telegraph, 06 July 2015 

    “The voices of Christine Rice, Catherine Wyn-Rogers, Louise Alder and Duncan Rock are hauntingly beautiful…”
    David Karlin, Bachtrack, 06 July 2015

    “…finely supported by Louise Alder’s precise Lucia…”
    George Hall, The Guardian, 07 July 2015 

    “The singers are close to ideal and diction throughout the supercharged company is as exemplary as their singing and acting…with Louise Alder a soaring maid, Lucia…”
    Mark Valencia, What’s on Stage, 14 July 2015 

  • More info  
    15 Apr 15 Gala des Liedes
    Musikverein, Graz

    mit großen und mit neuen Namen Thomas Quasthoff, Helmut Deutsch, Louise Alder, Angelika Kirchschlager, Michael Schade, Andrè Schuen

    “Quasthoff charmant moderierte und damit die 28-jährige derzeit in Frankfurt engagierte Engländerin Louise Alder einführte, die an diesem Abend in Graz mit Benjamin Brittens aus fünf Liedern bestehenden Zyklus „On this Island“ nach Gedichten von Auden debütierte. Das sind in unseren Breiten selten gehörte Lieder mit fast opernhafter Emphase, die Louise Alder intensiv gestaltete. Sie nahm das Publikum mit ihrer warmen, klaren und koloraturensicheren Stimme sofort für sich ein.”
    Hermann Becke, Der Opernfreund, 11 April 2015

    “Die Engländerin Louise Alder glänzte mit jugendlichem, expansionsfähigem Sopran.”
    Ernst Naredi-Rainer, Kleine Zeitung, 12 April 2015

  • More info  
    03 Feb 15 CESTI L'Orontea
    Oper Frankfurt

    “Silandra (Louise Alder, glockenklarer Koloratursopran)”
    Klaus Ackermann, Offenbach-Post, 03 February 2015

    “Alder punktet mit hellem Sopran und laszivem Spiel.”
    Thomas Molke, Online Musik Magazin, 03 February 2015

    “The Silandra of Louise Alder was a lusty, commanding presence.”
    Rebecca Schmid, Financial Times, 02 February 2015

    “Louise Alder (silandra) [was] excellent…”
    Nicholas, Blanmont, Opera, July 2015

  • More info  
    01 Jan 15 BELLINI La Sonnambula
    Oper Frankfurt

    “The high standard was maintained by Louise Alder’s sparkling Lisa.”
    Nicholas Blanmont, Opera, May 2015

  • More info  
    24 Oct 14 Liederabend with Björn Bürger (baritone) & Helmut Deutsch (piano)
    Oper Frankfurt

    “Die Wahl fiel auf zwei junge Sänger: auf die Sopranistin Louise Alder und auf den Bariton Björn Bürger. Alder ist seit dieser Saison neues Ensemblemitglied der Oper Frankfurt und derzeit als Gretel in „Hänsel und Gretel“ zu erleben. Bürger ist seit der letzten Saison Ensemblemitglied der Oper Frankfurt (er wird u.a. im nächsten die Titelrolle bei der Wiederaufnahme von Brittens „Owen Wingrave“ und sein Debüt als Don Giovanni an der Oper Oslo geben). Begleitet wurden Sie von keinem geringeren als dem Meister der Klavierbegleiter schlechthin: Helmut Deutsch. Bürger arbeitete mit ihm schon während seiner Ausbildung an der HfMDK Frankfurt, Alder wird mit ihm (und mit Florian Boesch, Bernarda Fink, Angelika Kirchschlager und Michael Schade) am 10. April 15 die „Gala des Liedes“ beim Musikverein Graz gestalten.Bei dem kurzfristig zusammengestellten Programm wechselten sich die beiden jungen Sänger ab, teilten den Liederabend gewissermaßen auf. Dabei stellten sie sich der Königsdisziplin Liederabend mehr als respektabel – schon durch ihre Gelöstheit und Unbeschwertheit, die sie äußerlich vermittelten (Bürger verweilte zudem kurz vorher noch ganz tiefenentspannt an der Abendkasse mit Angehörigen). Sie wirkten lockerer, als manch erfahrener Kollege hier in der Vergangenheit. Beide trugen ihr Programm ohne Noten vor (und das bei der kurzen Vorbereitungszeit). Bei Alder bestach zudem die klare Aussprache bei den Liedern von Schumann und Strauss, ist sie doch eine gebürtige Britin (geboren in London).

    Eröffnet wurde der Abend von Björn Bürger mit Ludwig van Beethovens Liederzyklus „An die ferne Geliebte“, sechs vertonte Gedichte von Alois Jeitteles (einem Brünner Arzt, der Seuchen bekämpfte), die das Thema Liebessehnsucht beleuchten. Hier wirkte Bürger noch etwas in Eile und preschte mit schnellem Tempo und verhaltener Innigkeit durch diesen Zyklus (schön kontemplativ allerdings bei der dritten Strophe von „Heiß mich nicht reden“). Louise Alder widmete sich mit ihrem kräftigen Sopran zunächst den vier Lieder Mignons aus Robert Schumanns Opus98a (nach Goethes „Wilhelm Meister“), die sie mit einer etwas zu intensiven ariosen Note vortrug. Dem gegenübergestellt wurde, jetzt mit zarter, engelhafter Attitüde, die „Romance de Mignon“ des Franzosen Henri Dupard. Mit vier Liedern von Richard Strauss beendete sie den ersten Teil. Das heitere „Schlechtes Wetter“ passte ganz besonders zum gerade über Frankfurt gezogenen Herbststurm.

    Nach der Pause präsentierte sich Bürger mit Schumanns „Dichterliebe“ als souveräner Liedsänger. Der Zyklus besteht aus 16 Liedern, zu deren bekanntesten zählen „Im wunderschönen Monat Mai“, „Im Rhein, im heiligen Strome“, „Ich grolle nicht“ oder „Die alten, bösen Lieder“). Auch wenn er in den Extremen, also den Höhen und Tiefen, noch etwas an Volumen zulegen kann , überzeugte er mit seinem flüssigen Stil, mit angemessenem Pathos und mit viel Gefühl. Sehr schön innig trug er beispielsweise „Am leuchtendem Sommermorgen“ vor. Alder beendete mit Franz Liszts frühen „Drei Sonette von Francesco Petrarca“ den Abend (mit diesen beendete auch Stéphane Degout im Mai sein Liederabendprogramm). Hier stellte sie erneut ihre flexible und gut geführte Stimme eindrucksvoll und verführerisch vor.

    Viel und starken Applaus gab es schon zwischen den Liedgruppen und erst recht am Ende. Die beiden gaben zwei Zugaben, die sie als Duett sagen: Robert Schumanns „Wenn ich ein Vöglein wär“ (Op. 43 No. 1) und von Helmut Deutsch als Reminiszenz an ihre Heimat gewählte Lied „Spring Wind“ von  ric H. Thiman. Bei den Zugaben nahm sich Bürger in Gentlemen-Manier zurück und ließ Alder strahlen.”

    Markus Gründig, Oktober 2014

  • More info  
    22 Oct 14 HUMPERDINCK Hänsel und Gretel
    Oper Frankfurt

    “Louise Alder sang mit leuchtend klarer, verzückt betörender Stimme die Gretel.”
    Barbara Röder,, 22 October 2014

    “…the delightful Gretel of Louise Alder grasping her first major assignment as a member of the ensemble…”
    Hugh Canning, Opera, March 2015

  • More info  
    23 Jul 14 STRAUSS Der Rosenkavalier
    Glyndebourne Festival Opera at the BBC Proms with the LPO/Ticciati

    “Louise Alder sang radiantly and acted the kooky, feisty youngster superbly, a revelatory Proms debut from a true homegrown talent of whom we’ll hear a good deal more in future. She makes her full Glyndebourne debut next season and that’s something to watch out for.”
    Simon Thomas, What’s on Stage, 23 July 2014

    “…her intonation was secure and her silvery top notes bloomed gloriously…”
    Mark Pullinger, Bachtrack, 23 July 2014

    “Louise Alder was a sparkling Sophie who won all hearts.”
    Barry Millington, The Evening Standard, 23 July 2014

    “[Alder’s] bright and well-supported soprano was a constant reward.”
    Martin Kettle, The Guardian, 23 July 2014

    “Louise Alder a feisty Sophie, primed for fisticuffs with her unwanted husband-to-be Baron Ochs.”
    Clare Colvin, Express, 27 July 2014

    “Alder confirmed that she’s ready for top billing, with her delicate, floated ‘himmlische’ on smelling the rose being one of the most memorable moments.”
    Kimon Daltas, The Arts Desk, 23 July

  • More info  
    30 Apr 14 RAMEAU Zaïs
    Orchestra of the Age of Enlightenment/Jonathan Williams

    “The classy cast included Louise Alder’s refined Zélidie…”
    Tim Ashley, The Guardian, 29 April 2014

  • More info  
    03 Apr 14 BRIDGE, BRITTEN, LISZT & STRAUSS Ligeti Quartet
    Wigmore Hall

    “The soprano is an opera star in the making, as this evening of early 20th-century songs showed. There was no opera whatsoever on the programme. Most of the musicians were string players. So why did this performance – the last in Wigmore Hall’s latest Park Lane Group Young Artists season – feel like a high-octane night at the opera?  One reason: Louise Alder, a wonderful soprano and the concert’s main attraction. Recently graduated from the Royal College of Music, this young singer oozes potential as an opera diva, and not just because of her vocal quality – seductive, pliable and calorific though it is. Alder is an uninhibited actress, with a bewitching ability to get to the core of a text and embody it wholeheartedly. She knows how to hypnotise her audience. And this well-crafted programme, also showcasing the dynamic Ligeti Quartet, lent itself to her cause. It consisted mostly of songs by English and Austrian early 20th-century composers – ostensibly diverse but artfully chosen to highlight chains of influence: Frank Bridge’s impact on his student, Benjamin Britten, for example, and Alban Berg’s on Bridge. What really glued it all together, however, was the intensity that Alder brought to each piece, almost equalled by that of her piano accompanist, John Paul Ekins. Under her laser-sharp focus, the bleak and brief ‘Nocturne’ from Britten’s On this Island, Op. 11 resonated far beyond its three-minute lifespan. Strauss’s ‘Der Stern (from Op. 69) radiated tenderness: each word was lovingly caressed, each musical idea fresh and vital. Liszt’s ‘Tre Sonetti di Petrarca’, S. 270b, though operatic enough in its own right, swelled to even larger-than-life proportions in Alder’s hands, with lines such as “death and life alike repel me” declaimed in an anguished howl. And Bridge’s three charming songs – ‘Goldenhair; Sonnet ‘When most I wink’ and ‘Love Went a-Riding’ – tripped off Alder’s tongue with a lyrical ease. Earlier in the evening the Ligeti Quartet gave an incisive account of Bartók’s eerie String Quartet No. 4, a piece that revealed the players’ wide palette and translucent sound, albeit with a hint of restraint. They brought the same qualities to Berg’s Lyric Suite, while handling its mood-swings with a sure-footed grace. Alder joined them only for the final, haunting Largo desolato, but it was enough to underline the point: this soprano should go far.”
    Hannah Nepil, Financial Times, 1 April 2014

  • More info  
    25 Nov 13 MOZART Coronation Mass
    Chichester Singers/Jonathan Willcocks

    “The soprano solo of Louise Alder was beautifully delivered with ease and musicality, most noticeable in the Agnus Dei.”
    Mark Hartt-Palmer, Chichester Observer, 25 November 2013

  • More info  
    26 Apr 13 Kathleen Ferrier Competition, Final 2013
    Wigmore Hall

    “The second prize went to soprano Louise Alder. There was promise here, and power enough to shatter a chandelier.”
    Geoff Brown, The Times, 29 April 2013

  • More info  
    01 Apr 13 HANDEL Imeneo
    London Handel Festival

    “All the performances were outstanding and of a consistent quality. However perhaps half a head above the others for me was the other soprano, Louise Alder as Clomiri.  In the case of this production of Imeneo Miss Alder’s performance of ‘Se ricordar ten vuoi’ was the finest example of true Handel singing I heard all night. Miss Alder has mastered the art of making ornamentation sound fluid, elegant and, above all, natural – when it is probably the most artificial aspect of the opera seria tradition. All the singers, including an excellent chorus who did double duty as scenery changers, threw themselves with unbridled enthusiasm into the humour of the production, but it was Miss Alder’s comic timing which was for this critic
    par excellence.”
    Miranda Jackson, Opera Britannia

    “Soprano Louise Alder played the part of Clomiri with a comic touch, wooing Imeneo with sexual appeal. Her light and lyrical voice is suited to baroque repertoire and she impressed with her ornamentation in her Act 3 aria.”
    Nahoko Gotoh, One Stop Arts, 11 March 2013

    “Louise Alder [displayed] delicacy as Clomiri.”
    George Hall, The Guardian, 12 March 2013

    “Louise Alder’s Clomiri spun elegant vocal lines.”
    Richard Fairman, Financial Times, 12 March 2013

    “As so often in [Handel’s] operas of this type, the seconda donna – Louise Alder’s sprightly, teasing Clomiri – ran off with the show, as least as far as the audience was concerned, reminding me of Lesley Garrett’s ENO Atalanta (Serse) and Dalinda (Ariodante), and Camilla Tilling’s Dorinda (Orlando) at Covent Garden.”
    Hugh Canning, Opera, May 2013

  • More info  
    14 Jan 13 Recital with Gary Matthewman (piano)
    Purcell Room, Southbank Centre

    “Alder showed an uncanny ability to get beneah the skin of the musical poetry – whether in the winsome Love Songs of Age from Huw Watkins Five Larkin Songs, the wit of Lord Berners‘ Three English Songs or the French-language languor of Matthews’ delightfully retro Baudelaire settings.  She even found something soulful and wondrous in Oliver Knussen’s Whitman Settings.  Alder is a radiant performer and a composer’s godsend.”
    Andrew Clark, The Financial Times, January 2013

    “Hearing her ringing top register, I felt she could fuel a rocket ship to Mars….you had to respect Alder’s power: her acting too, as she expressed the words of every song in looks frivolous, brooding, or glum.”
    Geoff Brown, The Times, January 2013

    “[Alder’s] voice reaches a startling focus and intensity at altitude, which she put to savagely ironic use in Huw Watkins’ setting of Philip Larkin’s tart little verse entitled Money.  Alder’s emotional intelligence is her greatest asset, shining through in Lord Berner’s Three English Songs, which could seem twee and faded, but didn’t.  And she struck a lovely tone of wide-eyed wonder in Matthews’ delightful setting of Edward Thomas’ Out in the Dark.”
    Ivan Hewett, The Telegraph, January 2013

  • More info  
    17 Sep 12 MOZART Le nozze di Figaro
    Royal College of Music

    “An accomplished performance of this pivotal role by Louise Alder revealed the soprano to be a born actress and a fluent and expressive singer: her account of Susanna’s Deh vieni non tardar was exquisitely charged with the love she feels for Figaro.”
    Opera, September 2012


Jauchzet Gott in allen landen!
Mass in B Minor
St John Passion
St Matthew Passion

Knoxville: Summer of 1915

La Sonambula (Lisa)

Ah! perfido
Choral Fantasy
Fidelio (Marzelline)
Mass in C
Missa Solemnis
Symphony No. 9

Carmen (Micaëla)

Venus and Adonis (Venus)

Ein Deutsches Requiem

Albert Herring (Miss Wordsworth)
Les Illuminations
On This Island
A Midsummer Night’s Dream (Tytania)
Peter Grimes (First Niece)
The Rape of Lucretia (Lucia)

La Calisto (title role)

L’Orontea (Silandra)

Diane au Bois

L’Elisir D’Amore (Adina)

Dies natalis

Orfeo (Euridice)

Agrippina (Poppea)
Giulio Cesare (Cleopatra)
Il delirio amoroso
Imeneo (Clomiri)
Rodelinda (title role)
Semele (title role)
Theodora (title role)
Xerxes (Romilda)

Die Schöpfung
Nelson Mass
Scena di Berenice

Hansel und Gretel (Gretel)

The Cunning Little Vixen (title role)

Werther (Sophie)


L’incoronazione di Poppea (title role)

Bella mia fiamma
Ch’io mi scordi di te
Così fan tutte (Fiordiligi)
Don Giovanni (Zerlina)
Exsultate Jubilate
Idomeneo (Ilia)
Mass in C Minor (Soprano 1)
Le nozze di Figaro (Susanna)
Die Zauberflöte (Pamina)

Carmina Burana

Stabat Mater

Mass in G Minor

La bohème (Musetta)

The Fairy Queen
King Arthur

Zaïs (Zélidie)

Orpheus (Euridice)

La Cenerentola (Thisbe)

Mass in G

Der Rosenkavalier (Sophie)
Sechs Lieder Op. 68
Vier letzte Lieder

The Rake’s Progress (Ann Trulove)

Falstaff (Nannetta)


Read Louise’s Interview for Classic FM (September 2018): What better way to commemorate the First World War than through music?

Read Louise’s Interview In Financial Times (May 2018): Opera star Louise Alder on the benefits of being a late starter

Read Louise’s Interview with PrestoClassical (August 2017): Louise Alder on Strauss Lieder

Read Louise’s Interview in BBC Music Magazine (July 2017): Q&A: Louise Alder

Read Louise’s Interview in Opera Now (Artist of the Month, June 2016): Louise Alder Artist of the Month