Press
“…the wonderfully resonant soprano voice of Alexandra Smither.”
“Smither’s luminous voice and wide range pair well with the muscular tones of the double bass that Paul, too, turns into poetry.”
“Smither’s strong lower register has replaced the double bass in an unbroken crescendo of agitation, staccato sounds and jarring dissonance as the rhythm builds aggressively until — in a climactic musical explosion — the nightmare shatters.”
– Adrienne Jones, Paper City, June 2023
in review of Beyond the Sanctuary Walls with Kinetic Ensemble
Smither and Parameswaran fully savored [Britten’s] climactic orchestral exuberance…the lower strings flowed into the first vocal scoring of Britten's surreal refrain, taken by Smither at an infectious poco presto tempo with all her characterful ebullience.”
– Perry Tannenbaum, Broadway World, Feburary 2023
in review of Britten’s Les Illuminations with the Charlotte Symphony
“On the most literal level, the three female soloists — mezzo-soprano Kelly Guerra and sopranos Molly Netter and Alexandra Smither, all superlative — conjured up the figures of the Three Graces.”
– Joshua Kosman, San Francisco Chronicle, March 2022
in review of Katherine Balch’s Illuminate with the California Symphony
“…beautifully sung throughout by…soprano Alexandra Smither as Iphigenia of the Light”
– Michael Andor Brodeur, The Washington Post, December 2021
in review of esperanza spalding’s and Wayne Shorter’s Iphigenia at the Kennedy Center
“Lyric soprano Alexandra Smither was an ideal Susanna in voice and in looks – I daresay this will become her signature role.”
– Joseph So, Ludwig Van Toronto, December 2019
in review of Figaro’s Wedding with Against the Grain Theatre
“Alexandra Smither [is] a passionate, volatile Susanna, every second meaningful & never letting the illusion fade.”
– Barczablog, December 2019
in review of Figaro’s Wedding with Against the Grain Theatre
“Ally Smither and Bruno Roy had superb onstage chemistry as Susanna and Figaro. They are both outstanding solo singers and their voices blend well together. ... Vocally, Smither is a perfect Susanna, with the flare for comedic timing and physical comedy that the role needs. Smither’s performance of Deh vieni non tardar, Susanna’s beloved Act III aria, was enchantingly supple, and a perfect vehicle for her silky, light soprano and delightfully fast, stable vibrato. ... Her duet with Rosina in Act III was glorious.”
– Mooney on Theatre, December 2019
in review of Figaro’s Wedding with Against the Grain Theatre
“Soprano Alexandra Smither is Susanna, her sunny cloudless top and plain spun middle voice striking straight to the centre of our affections in a performance of immense clarity and intuition, high-spirited wit and charm.”
– Ian Ritchie, Opera Going Toronto, December 2019
in review of Figaro’s Wedding with Against the Grain Theatre
“Susanna – played with perfect comedic timing and heartwarming sincerity by Smither.”
– Isabella Perrone, Broadway World, December 2019
in review of Figaro’s Wedding with Against the Grain Theatre
“Alexandra Smither was a fine Drusilla, so hopelessly in love with Ottone that she loans him her clothing and takes the heat for his attempt at murder.”
– Opera News, November 2019
in review of L’Incoronazione di Poppea with Bare Opera
“Particularly impressive was silver-voiced Alexandra Smither”
– the Arts Fuse, September 2019
in review of Beethoven’s Choral Fantasy with Andriss Nelsons and the Boston Symphony
“The 1966 Berio piece, Sequenza III for solo voice, is exactly the kind of thing that Muzijevic excels at digging up. I would be surprised if any of us in the audience had heard it before—especially since it requires an extraordinarily adept soprano, one who can shriek, gurgle, cackle, mutter, gesture, and declaim as well as sing beautifully. Fortunately Alexandra Smither, the young singer who took on the startlingly dramatic piece, was more than up to the job. I hope someday to see her onstage with Simon Rattle, who loves to employ singers with her diverse talents.”
– The Threepenny Blog, September 2018
in review of Berio’s Sequenza with the Tesla Quartet at the Barysnikov Arts Center
“Alexandra Smither’s high bright voice embodied Max’s shrill ravings to perfection.”
– Boston Musical Intelligencer, August 2018
in review of Knussen’s Songs and a Sea Interlude with the Tanglewood Music Center
“Soprano Alexandra Smither (Younger Alyce) imbued her solo aria “My Darling Jim” with heartbreaking tenderness. It was the only ray of light in this relentless, intense 90-minute opera, providing a much-needed moment of innocence.”
– Texas Classical Review, November 2017
in review of Cipullo’s Glory Denied with Houston Grand Opera
“Smither (a tireless advocate of contemporary music) sported a Jacqueline Bouvier wig which highlighted her, and her era's, crushed optimism; she well depicted a state of perpetual insanity and wishful thinking for the entirety of the first act, with numerous exuberant, scintillating, stratospheric passages.”
– Schmopera, November 2017
in review of Cipullo’s Glory Denied with Houston Grand Opera
“Deliciously sung by Tanglewood Music Center fellows with [Emanuel] Ax providing a firm foundation as accompanist, [and] with clarinetist William R. Hudgins as her friendly echo, soprano Alexandra Smither rose to the ecstasies of spring in “Der Hirt auf dem Felsen” (“The Shepherd on the Rock”).”
– The Berkshire Eagle, July 2017
in review of Schubert’s Summer Journey with Emanuel Ax
“The real focus in [The Boatswain's] Mate was Alexandra Smither’s star turn as Mrs. Waters. Smither has a very beautiful voice, quite compelling in its upper registers... She acted many emotions during the one-acter, from humour to reverie to passion to anger”
– The Globe and Mail, June 2017
in review of Suffragette with Opera5
“Alexandra Smither is most convincing as Mrs. Waters; whether as baseball bat wielding battleaxe or smitten bride-to-be. She has a clear and flexible soprano and didn’t seem troubled by the tricky acoustic.”
– OperaRamblings, June 2017
in review of Suffragette with Opera5
“Alexandra Smither sang Mrs. Waters in Boatswain, her voice was beautiful, elegant, and masterfully manipulated. Smyth's scores have that nasty Puccini-like quality where they sound easy, but are rather difficult. Smither portrayed the bar “matron” with verve and spunk. She was animated and engaging.”
– Schmopera, June 2017
in review of Suffragette with Opera5
“Soprano Alexandra Smither, as the sexy circus vixen Esmeralda, thrilled with a huge, mature, and vocally stunning performance during her short scene.”
– Voice of Santa Barbara, 2016
in review of the Bartered Bride with Music Academy of the West