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Pamina (Die Zauberflöte), Garsington Opera
Louise Alder’s singing as Pamina is unfailingly beautiful.
THE INDEPENDANT, Michael Church, June 2018
Wigmore Hall, 2018 | 2019 | 2020
Recital with James Baillieu
Superb young lyric soprano's voice only grows in breadth and beauty...
Alder is an instinctive singing-actress - a natural recitalist.
THE ARTS DESK, Alexandra Coghlan, January 2018
Recital with Joseph Middleton
Alder is a terrific talent, combining a big, lustrous voice with flawless intonation and keen intelligence.
THE TIMES, Richard Morrison, January 2020
Recital with Roger Vignoles
I've never heard Alder's silvery soprano sound fuller, with some gorgeous portamenti in Schilflied and filling the room with radiant sound in the climaxes of Die Nachtigall. She also showed an impressive acuity with the text, digging into the harmonies of Nacht in a way that made me wonder if Lulu might perhaps be in her future.
BACHTRACK, Kevin W Ng, October 2020
Lines Written During a sleepless night CD
with Joseph Middleton
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.
THE TELEGRAPH, Rupert Christiansen, January 2020
Through Life and Love, Strauss Lieder debut CD
with Joseph Middleton
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.
GRAMOPHONE MAGAZINE, Hugo Shirley, December 2017
Marzelline (Fidelio), BBC Philharmonic, BBC Proms
What a pity Beethoven never composed an appendage to Fidelio called The Sorrows of Young Marzelline... Louise Alder so lived the role of the gaoler's daughter in love with a woman disguised as a man that everything else felt rather less intense. .. Her launch of the great canon-quartet "Mir ist so wunderbar" provided the one truly moving moment of the evening.
THE ARTS DESK, David Nice, July 2017
Sophie (Der Rosenkavalier), Welsh National Opera
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.
THE ARTS DESK, Stephen Walsh, June 2017
Atalanta (Xerxes), Oper Frankfurt
Die resolute Louise Alder, die mit ihre Stimme alles kann, leckte Staccato ebenso wie rasante Koloraturen und eine tolle Schauspielerin überdies (Atalanta).
January 2017
Il Delirio Amoroso, Dunedin Consort, Edinburgh International 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... 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.
HERALD SCOTALND, Keith Bruce, August 2016
Ilia (Idomeneo), Garsington Opera
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.
OPERA TODAY, Mark Berry, June 2016
Das Schlaue Füchslein/The Cunning Little Vixen, Oper Frankfurt
Louise Alders strahlender Füchslein-Sopran samt ihrem "Powergirl"-Spiel prägten den Abend.
BR-KLASSIK.DE, Wolf-Dieter Peter, April 2016
Cleopatra (Giulio Cesare in Egitto), Oper Frankfurt
Gaststar Andreas Scholl, der Cäsar in Salzburg an der Seite Cecilia Bartolis gesungen hat, traf jetzt in Frankfurt im jungen Ensemblemitglied Louise Alder auf eine Cleopatra, die stimmlich und darstellerisch eine echte Wucht ist. Mit ihrem vielseitigen Sopran spannte sie als blutjunge Ptolemäer-Prinzessin spielerisch den Bogen von divenhaft erotisch, über teenagerhaft turtelnd bis hin zu dramatisch furios. Spektakulär, wie das überwältigte Publikum dieser Frau, die erst seit 18 Monaten dem Ensemble angehört, zu Füßen lag.
FRANKFURTER NEUE PRESSE, Bettina Boyens, February 2016
Eurydice (Orpheus),
The Royal Opera,
Wanamaker Playhouse, The Globe
Orpheus, though, puts her centre stage and gives Louise Alder the meatiest role of all - and she eats it up... this committed singing actress is a special communicator as well as a radient soprano.
WHAT'S ON STAGE, Mark Valencia, October 2015
Sophie (Der Rosenkavalier), Glyndebourne Festival Opera,
BBC Proms
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 the future. She makes her full Glyndebourne debut next season and that's something to watch out for.
WHAT'S ON STAGE, Simon Thomas, July 2014
Press
Semele,
Orchestra of the Age of Enlightenment
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.
THE FINANCIAL TIMES, Hannah Nepil, October 2017
Oxford Lieder Festival Opening Gala
Orchestra of the Age of Enlightenment
... the rapt intensity and vivid emotional storytelling of soprano Louise Alder... Cherishing the text, narrating with eyes and breath as much as tone, Alder was a reminder that.... there’s nothing quite like a soprano singing Strauss for that swooning fix of late romantic ecstasy. THE SPECTATOR, Alexandra Coghlan, October 2017
Susanna (The Marriage of Figaro),
Alder's Susanna is world-class, exquisitely phrased, beautifully sung, worthy to be mentioned in the same breath as an earlier ENO singer of this role, Lillian Watson, or Lucia Popp and Miah Persson at Covent Garden.
THE SUNDAY TIMES - Hugh Canning, March 2020
Zerlina (Don Giovanni), Royal Opera House
Louise Alder adds to her growing reputation with a radiantly sung and subtly acted Zerlina
THE TIMES - Richard Morrison, October 2019
Semele, Monteverdi Choir and Orchestra
Appropriately, the star turn was Louise Alder’s sizzling Semele, tremendously sung, sexily bending notes to suggest impure thoughts.
BACHTRACK - Mark Pullinger, May 2019
2010 - present
2010 - present
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