Vocalist - Soprano
Acclaim
Austin Opera’s Ariadne auf Naxos

"Romano and the grand Alexandra LoBianco (the Prima Donna in Part One/Ariadne in Part Two) have resonant, powerful voices..."

Robi Polgar, The Austin Chronicle
Turandot - Des Moines Opera

"July 8 brought Puccini's TURANDOT and a much-anticipated assumption of the vengeful principessa by Alexandra LoBianco. LoBianco's thunderous performance would have been formidable in a 2,500-seat house; in DMMO's intimate theater she nailed lyou to your seat. However, she commanded a wealth of sensitive dynamics and handled the transition from blood-lust to vulnerability most convincingly."

Mark Thomas Ketterson, Opera News
Des Moines Answers Turandot’s Riddles

"Alexandra Lobianco is well remembered here for her feisty Minnie in a recent season. If Fanciulla is a Big Sing for the soprano, Princess Turandot is a Big Sing on Steroids. The fiendishly high, clarion singing required is balanced with the need for controlled delicacy after her conversion to a loving mindset. Ms. Lobianco is short of physical stature, but makes up for it with potent spinto vocalizing that has its own towering presence. As she kept pouring out laser-focused riddles, rising in pitch as well as intensity, we sat wondering: 'Where is all that glorious voice coming from'?'"

James Sohre, Opera Today
World-class opera grows tall and proud in the Corn Belt

"Alexandra LoBianco invested the titular ice-princess with a steely yet pliant dramatic soprano that fearlessly rode the crests of orchestral sound produced in the pit.... the full-throttle intensity of her singing in this diva-killing role was thrilling."

John von Rhein, Chicago Tribune
Second-cast principals deliver the goods in FGO’s “Masked Ball”

"The Florida-born LoBianco made a well regarded debut at the Vienna State Opera as Leonore in Fidelio in 2016 and has sung Wagnerian repertoire as well. Her large, dark voice has an exciting edge in the upper reaches. LoBianco repeatedly soared over the full orchestral and choral forces. She managed to capture Amelia’s desperate state, radiating real fear at the sight of the gallows. Her widely terraced dynamics and intensity turned both of Amelia’s arias into high wire displays of emotion, tottering on the brink of unhinged. She is a dramatic soprano of great promise."

Lawrence Budmen, South Florida Classical Review
Haunting Ground

"Alexandra LoBianco dramatically portrays his partner in ghostly crime, Miss Jessel. She is a dramatic soprano at the start of a major career. Her European stage debut with Wiener Staatsoper, performing the part of Leonore in Beethoven's Fidelio, only occurred last year (2016). Her character, Miss Jessel, is the most tortured soul in this opera that is filled with desperate people, and she doesn’t hold back in her final scene of ultimate desperation."

Gregory Sullivan Isaacs, Theater Jones
Dallas Opera presents a hauntingly beautiful production of Britten’s 'Turn of the Screw'

"Alexandra LoBianco’s ghost of Miss Jessel was appropriately creepy, lurking weightily about and making her claims on the children clear. LoBianco’s slightly dark soprano is an ideal choice for this role, providing timbral contrast with Bell’s unaffected tone. Her acting, too, is spot on, as she sprawls heavily on the vanity table, silently rejecting the claims of the Governess who sings 'this is MY desk' and then 'these are MY children.'"

J. Robin Coffelt, Texas Classical Review
Opera as gripping theater: Dallas Opera produces a powerful Britten 'Turn of the Screw'

"Alexandra LoBianco is aptly creepy as Miss Jessel, with mezzo-ish richness to her substantive soprano."

Scott Cantrell, Dallas Morning News
Fidelio – Wiener Staatsoper

“In the leading roles Robert Dean Smith (Florestan) and Alexandra LoBianco (Leonore) presented, above all, great pathos.”

Jan-Jakob Delanoye, Cutting Edge
Fidelio – Wiener Staatsoper

“Alexandra LoBianco is a warmhearted Leonore­–her aria ‘Abscheulicher, wo eilst du hin’ was outstanding.”

K.A., Kronen Zeitung Gesamt
Fidelio – Wiener Staatsoper

“For the first time, Alexandra LoBianco was heard by the Viennese public. She is a passionate Leonore with a secure technique.”

Marion Eigl, Kurier
Götterdämmerung: In Defense of the Strange

"Alexandra LoBianco is utterly brilliant as Brünnhilde. Her soprano is arresting, controlled and beautiful. LoBianco’s voice—passionate and clear—would be worth your time at the performance in and of itself."

Raphael Maurice, St. Louis Magazine
PORTopera’s ‘Tosca’ a stellar performance

“LoBianco projected Tosca’s complexities – her alternately jealous and amorous discussions with Cavaradossi, her sense of disgust, helplessness and, ultimately resolve, in her evening with Scarpia – with an impressive fluidity. More importantly, she has a rich, flexible, finely polished sound. Her account of ‘Vissi d’arte’ – Tosca’s ‘what have I done to deserve this?’ moment, as she finds herself in Scarpia’s web – was graceful, shapely and emotionally rich, and when she told Cavaradossi about killing Scarpia, in a passage with a high C followed by a precipitous drop, her rendering was nearly as dramatic as the murder itself.”

Allan Kozinn, Portland Press Herald
La Fanciulla Del West – Des Moines Metro Opera

“Soprano Alexandra LoBianco proved revelatory as Minnie. Her voice sounded huge in this intimate space (the laser-bright top occasionally wandered into Turandot territory), but what truly distinguished the performance was LoBianco’s dramatic intelligence and exceptional level of dynamic control. ‘Dove eravamo?’ was floated delightfully, and there was some exquisite soft singing in ‘Oh, se sapeste.’ This is a wonderful voice that should be heard in major houses.”

Mark Thomas Ketterson, Opera News
Tosca - PORTopera

“The most notable performance of the night was the thrilling Tosca of Alexandra LoBianco, a soprano with dramatic flair and clarion power throughout her range. LoBianco’s dark, mature sound commanded the drama from the moment she sang her first three ‘Mario’s offstage; throughout Act I, LoBianco was endearingly jealous, comically devout and passionately in love — though never excessively so. She maintained controlled hysterics in Act II, never straining nor pushing; her sole misstep was a forced forte at the final ‘così’ of ‘Vissi d’Arte,’ which was otherwise a demonstration of the skillful use of dynamics to propel an emotional aria.”

Maria Mazzaro, Opera News
Des Moines Fanciulla a Minnie-Triumph

"At its center, its beating heart is the tremendous performance of Minnie by Alexandra LoBianco. The soprano not only has an exciting spinto voice, but she is able to weight each phrase with just the right dramatic intent."

James Sohre, Opera Today
'Golden' girl hits her target

"When a brawl erupts and gun goes off, in comes Alexandra LoBianco as Minnie, the tough-loving saloon owner in the title role. She shakes her head, plants a hand on her hip and tells her 'boys' that she'll quit teaching their Bible lessons if they don't knock it off. (Only in opera, folks.)

"In her company debut, the Chicago soprano is everything you could want in a Puccini heroine: gutsy, tender, hot-blooded and equipped with a set of pipes that could blast a new mine shaft into the Sierra Nevadas."

Michael Morain, Des Moines Register
Dramatic production of 'Tosca' ushers in new era for Opera Grand Rapids

“Alexandra LoBianco, a dramatic soprano with a ringing voice, brought to her debut in the title role a wide, emotional range plus a voice to match. Her energetic portrayal of the high-strung diva – passionate one moment, petulant the next, easily angered, often animated, was all you could ask for. Cold and aloof as she dispatched Baron Scarpia ... LoBianco later unraveled completely while relating the events to her lover and seeing the look of horror in his eyes at what she’d done. LoBianco’s Act II aria, ‘Vissi d’arte,’ which she began singing while lying on the ground, was a heart-wrenching tour-de-force.”

Jeffrey Kaczmarczyk, Grand Rapids Press
The Madison Opera has done it again

“Above it soared a cast of creditable balance, with a veritable jewel in the center: Alexandra LoBianco, in the title role of Leonore/Fidelio. LoBianco, in her first turn as the titular trouser role of Fidelio/Leonore, was beyond reproach in every way. Her captivating Verdian soprano that seemed equally at home in every moment of the opera, rendered with proper dramatic heft the imposing vocal challenges of the part, including a powerful lower register. The moment when she steps forward at last to defend her husband from the evil Don Pizarro sent chills down my spine. It is hard to believe she has not sung this before; given how completely the role fit her.”

Mikko Utevsky, Well-Tempered Ear
Finding Oneself in FIDELIO

“LoBianco is given ample time to let Leonore grow through her incredible vocal power; her characterization would be nothing without this leading lady’s undeniably breathtaking instrument.”

Amanda Finn, Broadway World
Bold, dramatic 'Fidelio' shines a light into dark places

“Led by maestro John DeMain conducting the marvelous Madison Symphony Orchestra, ‘Fidelio’ shone most brightly in the form of its star, soprano Alexandra LoBianco.... LoBianco, last seen as the apex of a doomed love triangle in Madison Opera’s 2012 production of ‘A Masked Ball,’ drives the opera. She’s a magnetic, passionate performer with an extraordinary instrument and impressive control; her tone warms and opens as the opera progresses. Where another heroine might faint or gasp in shock when she’s told that her captive husband will be executed in mere hours, LoBianco’s Leonore — disguised as Fidelio — swallows and asks for more details. ‘Is he dead yet?’ she asks the jailer. ‘No? Let’s go, then.’”

Lindsay Christians, Capital Times
Beethoven's Fidelio is a stirring 2014-15 season opener for Madison Opera

“The standout cast member was surely Alexandra LoBianco, as the heroine Leonore, who disguises herself as the boy Fidelio in order to find her imprisoned husband. Her beautiful, nuanced voice has powerhouse carrying capacity.”

John W. Barker, The Isthmus
Another Jailbreak for Madison Opera

“Ultimately the success of a staging of Fidelio rests on a Leonore, who has a big, dramatic voice and uses it to poignantly color the character of the wife prepared to sacrifice her life for her beloved. LoBianco was here in Verdi’s A Masked Ball, and she continues to reveal a powerful instrument that is maturing both physically and expressively.”

Greg Hettmansberger, Madison Magazine
At Seattle Opera: A dashing 'Don Giovanni'

“Alexandra LoBianco sang Donna Anna; her powerful and sumptuous soprano was a pleasure to hear.”

Melinda Bargreen, Seattle Times
Union Avenue Takes a (Mostly Successful) Stab at Wagner's Dragon-Slaying Epic, Siegfried

“Although she only appears in the final scene, the soprano Alexandra LoBianco is simply electrifying as Brünnhilde — her voice is cavernous as it surrounds the audience, offering rich notes that sparkle with near tactile physicality in her final duet.”

Malcolm Gay, Riverfront Times
'Siegfried' Continues Union Avenue Opera's Daunting 'Ring Cycle' Productions

“LoBianco’s soaring soprano [filled] the entire venue with verve and vivacity.”

Mark Bretz, LaDue News
The soul and intensity of Wagner are on display in 'Siegfried' at Union Avenue Opera

“The voice of Alexandra LoBianco, who awakens to life as Brunnhilde only at the close of the final act, is one of the great treasures of opera today. Her voice seemed to pierce the very walls of the hall with its power, resonance and accuracy of pitch—in addition to her prodigious acting talents.”

Gary Scott, KDHX.org
Union Avenue Opera's 'Siegfried' is exciting Wagner

“Alexandra LoBianco [Brünnhilde] has already established herself at UAO as a dramatic soprano to watch, and she really came into her own in last year’s episode. On Friday night she sang with brilliant power and beauty.”

Sarah Bryan Miller, St Louis Post-Dispatch
Shadows on the Wall: THE CONSUL

“Alexandra LoBianco gathered the dramatic highlights with force in her arias, capped off with the tragic To This We’ve Come near the end of the Second Act. Here is a singer who knows how to act the pathos without being shrill or artificial in any way, her dramatically rich voice fulfilling the anger and resentment inherent in the words.”

Robert F. Adams, Casa Magazine
The Consul - Opera Santa Barbara

“Opera Santa Barbara wrapped its 20th season with Gian Carlo Menotti’s dramatic Cold War work, The Consul, with an utterly superb Alexandra LoBianco in the lead role.”

Richard Mineards, Montecito Journal
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