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Reviews
What critics are saying about Alexandra Hughes
The Dreyfus Affair, Alexandra Hughes as Marie
Tristan und Isolde
Brangaene
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“Alexandra Hughes as Brangaene, Isolde's attendant, had the best evening overall in the intensity of her singing and acting."
HONOLULU STAR BULLETIN
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“Alexandra Hughes was a haunting Brangaene”
OPERA , C.H.Parsons
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“As Brangaene, Alexandra Hughes used her opulent, powerful voice with great sensitivity in the evenings's most successful performance.”
OPERA NEWS , Lorna S.Mount
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Das Rheingold
Fricka
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“Fricka is undoubtedly one of the most unpopular characters in the whole of the “RING”. The prickly character of the role did not change with Alexandra Hughes, but she was so beautiful onstage and sings with such richness and splendor that our image of Fricka improves despite her words. Hughes has been singing in Seattle for several years now and in the process she has become a true artist.”
SEATTLE POST INTELLIGENCER
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“Hughes was a strong, believable Fricka.”
SEATTLE TIMES
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“Fine work was turned in both vocally and dramatically by Alexandra Hughes as Fricka."
OPERA
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“Also worthy of mention is Alexandra Hughes as the Rheingold Fricka.”
LONDON OBSERVER (review of entire Ring cycle)
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Werther
Charlotte
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“The many bravo-shouters seemed to agree: Alexandra Hughes' stage performance was once again an outstanding one; an intensely moving mezzo-soprano, who masterfully conveyed Charlotte's inner turmoil and agitation to all of us.”
OPERNWELT
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“Great moments were being experienced on opening night through the participation of Alexandra Hughes. Not only was her presentation as Werther's adored Charlotte superior on a vocal and musical level, but she also radiated with her completely convincing acting abilities.”
DAS ORCHESTER
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“The performance had great moments with the participation of Alexandra Hughes as Charlotte. An immensely moving and emotional moment was the Werther letter scene. With incredible inner calmness, she created such tension filled moments as to leave her audience completely breathless.”
SUDKURIER
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Hänsel und Gretal
Hänsel
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“Vocally it was a strong production….Alexandra Hughes looked and sounded exactly right for Hänsel.”
OPERA
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“The cast is strong. Alexandra Hughes, who makes a specialty of trouser roles, does the boy Hänsel proud, feisty, lively, a brave little soldier. Hughes' mezzo-soprano is in good shape and and handles the multiple difficulties of the part well."
SEATTLE POST INTELLIGENCER
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Der Rosenkavalier
Octavian
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“In the title role Alexandra Hughes gave a creditable performance vocally and a convincing one visually. In the final trio all three ladies were in top form and together produced one of the finest performances I have ever heard of this passage.”
OPERA
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“American mezzo Alexandra Hughes played Octavian with requisite freshness and coltish enthusiasm.”
MONTREAL GAZETTE
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“Mezzo Alexandra Hughes is well up to the difficult vocal and acting demands of Octavian."
THE SUBURBAN
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Ariadne auf Naxos
Komponist
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“Alexandra Hughes, a type like Herbert Gronemayer in his role as Schumann, created intoxicating sounds when allowed to promote her Art and the “Holy Music”
BADISCHE ZEITUNG
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“Alexandra Hughes absolutely radiates in the trouser-role as the Composer.”
BASLER ZEITUNG
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“Just as impressive as her stage presence was Alexandra Hughes' vocally and musically fascinating Composer."
SUDKURIER
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“The close connection between “Acting” and “Opera” can be observed by simply following the permanent presence of the Composer (expertly portrayed by the talented Alexandra Hughes in the trouser-role, whose dramatic and vocal abilities were completely convincing.”
SUDWEST PRESSE
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Carmen
Carmen
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“Alexandra Hughes...subtle and unforced..never putting her foot down with tight feminine force, which led her way to the end-effect even more convincingly. She sings with corresponding flexibility. Likewise Carmen's “Lieder” sounded almost like “Chansons”….light, easy and never laid on heavily. When drama is needed comes the real explosion in the unavoidable ending and yet this clear, lyric Mezzo never resorts to pushing."
OPERNWELT
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“Mezzo Alexandra Hughes, stunning in a red Spanish dress, attacked the “ Habanera” with a voice so sultry it almost seemed to be smoking! Hot damn!"
(Concert with the Seattle Symphony) SEATTLE GAY NEWS
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Samson and Dalila
Dalila
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“We met a magnificent singing Mezzo Alexandra Hughes as an enchanting Dalilah.”
FYNS STIFFENDE ODENSE
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The Turn of the Screw
Mrs. Grose
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"Alexandra Hughes brought her resonant Mezzo-soprano to the role of Mrs. Grose.”
The New York Times
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“Alexandra Hughes sang the role of Mrs. Grose with agility and emotion.”
THE PHILADELPHIA ENQUIRER
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“The strong cast was rounded out by Alexandra Hughes as a fervent Mrs. Grose.”
OPERA NEWS
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“Alexandra Hughes is splendid as the helpless, uncomprehending housekeeper."
NEW YORK MAGAZINE , Peter G. Davis
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International Festival d'Art Lyrique
Poitiers, France
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“Alexandra Hughes, mezzo-soprano, sang a Carmen with passionate warmth…filled with many colorful timbres…while also seductively playing the castanets!...
"... a Dalila superb in her role”
COLETTE MEUNIER SICARD
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Das Linde Lied
Lieder Recital
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"...her renditions of Ich atmet' einen linden Duft and Ich bin der Welt abhanden gekommen were glorious, feathery, light and delicate. And, oh, that soaring ascent in Gustav Mahler's
entire music! The calmness of her voice creates an intensity that gets under one's skin. For once Mahler was not heard in voluminous tones but rather in a voice that united eloquence and resonance... the same can be said for Richard Wagner's Wesendonck Lieder. In Stehe Still the remarkable dramatic resources of this highly intelligent mezzo-soprano manifested themselves once again. The exquisite program's recurring theme for the American songs were tidbits about singing…once again Alexandra Hughes' performance and interpretation was witty and clever.
BADISCHE ZEITUNG
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