WOLF TRAP OPERA
Cendrillon (Viardot)
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Another soprano, Alexandra Nowakowski nearly stole the show as La Fée, with her exquisite, silvery timbre and an effort-free upper register that relished every opportunity to soar or float. The breadth and beauty of her concluding admonition in Act I, “Avant minuit,” put extra magic into this fairy godmother. Nowakowski also handled narration duties gamely. OPERA NEWS
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Alexandra Nowakowski, a soprano, excelled as La Fée (Fairy Godmother) with gorgeous, soaring musical lines and crisp French pronunciation.” |
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WASHINGTON CLASSICAL REVIEW
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…the adaptation grafted “spunky” English-language narration by the Fairy Godmother, a swaggering Alexandra Nowakowski, whose subtle tremulousness gave her pearly coloratura a celestial cast, in between set pieces.” |
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PARTERRE
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… the coming of age of Alexandra Nowakowski as a headliner…. I have seen soprano Alexandra Nowakowski perform before, both for WTO in Ariadne auf Naxos and for the Washington National Opera in The Magic Flute. Her talent was obvious in those roles. As La Fée, the fairy godmother, her stage manner was assured; her comic timing with the English dialogue was spot on, and her voice and control, beautiful.” |
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OPERA GENE
WASHINGTON NATIONAL OPERA
The Magic Flute
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...and has a durable sound I expect will keep him employed for years to come. The same can be said for the American soprano and fellow Domingo-Cafritz Young Artist alum, Alexandra Nowakowski, who sang Papagena with a keen comedic flare that makes me wonder if she might consider crossing over to Broadway. The pair drew plenty of laughs as the daffy love birds with their duet, Pa-pa-pa-Papageno." |
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DC METRO THEATER ARTS
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Especially in his interactions with Papagena (a winning Alexandra Nowakowski), all culminating in the “Pa-pa-pa-Papageno” duet where they celebrate their love, he crafts a truly winning character. Nowakowski is a standout in her own right, as well. Her reveal from the cleaning lady to Papagena’s true form, with bucking “ahhh”s turning into a beautiful true-to-opera “ahhh,” was a comedic highlight of the show. |
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DC THEATRE SCENE
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But Michael Adams managed to bring a welcome naturalism to the role — avoiding in his spoken dialogue the declamation that’s become part of this opera’s tradition — sounding like a normal person, while singing with vivid color. Alexandra Nowakowski’s Papagena was in every respect a worthy mate." |
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WASHINGTON POST
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Nowakowski's Papagena, who first appears as a handsy old woman, is the perfect vocal and comedic compliment to Adams' loveably eccentric Papageno." |
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BROADWAY WORLD
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Luxury casting of young artists and company favorites rounded out the cast, including soprano Alexandra Nowakowski as a spritzy Papagena." |
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WASHINGTON CLASSICAL REVIEW
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A delightful moment is beheld in the outstanding “Papageno-Papagena” duet by baritone Michael Adams and soprano Alexandra Nowakowski. Clearly, musical performers such as these convey the meaning of “The Magic Flute” to touch one’s heart, regardless of one’s familiarity with the philosophical, cultural, and historical background of the opera." |
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MD THEATRE GUIDE
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Alexandra Nowakowski played Papagena with bubbly exuberance, contrasting beautifully with her love, Papageno." CHATHAM LIFE AND STYLE
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Domingo-Cafritz artist Alexandra Nowakowski (Papagena) put everyone on notice that she's one to watch." MARK RUDIO
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I was taken by surprise by the lovely voiced Alexandra Nowakowski as Papagena." WHISK AND QUILL
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WOLF TRAP OPERA
Ariadne auf Naxos
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Her foil was the sparkly Zerbinetta of soprano Alexandra Nowakowski, who also stood out in the WNO Domingo-Cafritz Young Artist program in the last two years. She finessed the coloratura demands of the aria “Grossmächtige Prinzessin” with panache and airy nuance, as refreshing as a gin fizz. These paired characters also represent Strauss’s love of all sides of the soprano voice, tragic and comic, and in this opera Zerbinetta wins the composer’s heart. Nowakowski also brought strength and sincerity to the touching duet with the Composer in the first act.” WASHINGTON CLASSICAL REVIEW
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It’s obvious early on soprano Alexandra Nowakowski has a number of formidable gifts as a performer... she mines comedic gold here as Zerbinetta, winning the audience’s affection as easily as she does the Composer’s... and dispatched the role’s showcase set piece with control and consistently clear tone despite its many hurdles. More please." MARK RUDIO
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Ariadne, abandoned by her lover, sings a paean to death, only to be interrupted by a goofy song-and-dance number. Zerbinetta, a libertine burlesque dancer, convinces her to forget her ex and get back on the market with an aria that’s both irreverent and the most demanding of the opera, a coloratura showpiece full of rapidly ascending runs and trills, and a terrific rondo with a flute. Wolf Trap Opera’s cast, all young singers at the beginning of their careers, tackle the challenges with aplomb, particularly Alexandra Nowakowski as Zerbinetta, a sparkling soprano.” WASHINGTON CITY PAPER
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Among the audience favorites was Alexandra Nowakowski’s Zerbinetta, which was charmingly played... Zerbinetta, the comic foil, offers real-life commentary on Ariadne’s plight, backed by a quartet of men as she continually inserts herself into the soprano’s limelight. [Nowakowski's] interpretation of the character gave a perfect bittersweet touch to the close of this exuberant performance.” WASHINGTON POST
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The professionalism of this early-career crew is impressive; opening night went off without an apparent hitch. The stand-out opportunities in Ariadne are the roles of Ariadne and Zerbinetta played in WTO’s production by soprano Alexandria Shiner and soprano Alexandra Nowakowski. Both of these two WTO Filene Artists delivered stand out performances… Ms. Nowakowski as Zerbinetta proved to be both a talented singer and a delightful actress. Her trills and roulades were used effectively, and she exuded a natural charm, nailing the coquettish nature of the role completely. Both sopranos received enthusiastic rounds of applause.” OPERA GENE
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As Zerbinetta, Alexandra Nowakowski revealed a silvery voice and pinpoint accuracy, complemented by a nicely drawn portrayal that underlined the character's sensuality as much as her practicality. The soprano made it look inevitable and fitting that Zerbinetta would run into the smitten Composer's arms during the opera's coda." OPERA NEWS
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Zerbinetta, sung by Alexandra Nowakowski had a detailed red corseted dress with a bonnet. The costume more than adequately reflected Ms. Nowakowski’s vocal radiance and stage presence.” SCHMOPERA
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WASHINGTON NATIONAL OPERA
American Opera Initiative Festival
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PEPITO
Soprano Alexandra Nowakowski did vibrant work as the unfulfilled, hopeful wife." OPERA NEWS
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...well sung by the soprano Alexandra Nowakowski." THE WASHINGTON POST
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"Soprano Alexandra Nowakowski, who was a ravishing Unicorn in last month’s holiday opera had substantial parts in all three operas. She stood out most admirably here as the young woman who finds her soulmate when she discovers that Pepito understands Spanish." WASHINGTON CLASSICAL REVIEW
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75 MILES
In the fact-based drama 75 Miles, Nowakowski provided incisive vocalism and acting as Avery, an unexpectedly pregnant sixteen-year-old." OPERA NEWS
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Alexandra Nowakowski gave [a] strong performance." DC THEATRE SCENE
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RELAPSE
Nowakowski did impassioned singing as Marina's exasperated sibling Jessie." OPERA NEWS
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VERBIER FESTIVAL
Rigoletto
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Gilda, played by Alexandra Nowakowski, delivers a very good, distinct performance. The young American singer has a voice with an exquisite timbre, capable of delicious vocalises ("Gualtier Malde")... she finds her place in the charming duos with Rigoletto... but also in the ravishing quartet of Act 3." OLYRIX
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The young Alexandra Nowakowski on the other hand is an assured Gilda. The voice is well placed and projects well, with impeccable breath control that assures accurate high notes (the "Caro nome" is executed with clear diction, and the voice remains in the same placement). It is without a doubt that of the three protagonists she is the one who possesses the most vocal maturity. A beautiful Gilda." WANDERER
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...dominated by Alexandra Nowakowski's lovely Gilda, which... gradually released a voice that became rounder, growing louder and louder. Delicate, fresh, pure as an angel in heaven as the Duke says, the young woman seduced us with her voice, her musicality, her tender acting, and her class. CONCERT CLASSIC
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ACADEMY OF VOCAL ARTS
Ariadne auf Naxos
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Alexandra Nowakowski more than filled out the demands of this exhilarating stretch — trills, runs, its own cadenza, and a spectacular high D near the end." PHILADELPHIA INQUIRER
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Alexandra Nowakowski is delightful as the salacious Zerbinetta, tossing off her high E’s and her trills with aplomb. " THE CULTURAL CRITIC
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Alexandra Nowakowski (Zerbinetta) has a lovely lyric soprano with the top notes and flexibility this fiendishly difficult role requires; she’s also an engaging actress... she shaped the line very gracefully." PHILADELPHIA MAGAZINE
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Alexandra Nowakowski possesses a meatier sound than one normally hears from Zerbinetta — a welcome change in a role than can easily turn squally. She shows no trouble reaching the aria’s stratospheric (and sustained) Es and Fs, finishing the showpiece with stamina to burn. " BROAD STREET REVIEW
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Alexandra Nowakowski's Zerbinetta offered some lovely vocalism. Impressive." OPERA NEWS
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ACADEMY OF VOCAL ARTS
Lucia di Lammermoor
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Alexandra Nowakowski - a lyric soprano with a remarkable range of dynamic shadings - was a dark-voiced, attractive heroine, thoroughly admirable vocally and dramatically." DAVID SHENGOLD, OPERA UK
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Previous Seasons
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Soprano Alexandra Nowakowski delivered the first of a number of beautifully sung solos. Later in the movement, Nowakowski, mezzo-soprano Hannah Ludwig and tenor Roy Hage delivered beautiful solos and joined Cioffari in a lovely quartet. Milanov led the orchestra and chorus through the Lux aeterna’s concluding fugue and straight into enthusiastic applause, which became a standing ovation when the soloists stood to be acknowledged. THE COLUMBUS DISPATCH
MOZART'S REQUIEM COLUMBUS SYMPHONY 2019 |
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Nowakowski commanded with her warm upper range." PHILADELPHIA MAGAZINE
NEW YEAR'S EVE THE PHILADELPHIA ORCHESTRA 2017 |
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Nowakowski in particular gave a searching, dramatic interpretation of every phrase, culminating in “Dulcissime”: “Sweetest one, I give myself to you totally!” This has to be one of the most passionate utterances in great music, and Nowakowski delivered with pure, splendid perfection.” BROAD STREET REVIEW
CARMINA BURANA PHILADELPHIA YOUTH ORCHESTRA 2017 |
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[Nowakowski] sang with both power and lyricism." CHESTNUT HILL LOCAL
DIE ZAUBERFLÖTE ACADEMY OF VOCAL ARTS 2017 |
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Well-cast Alexandra Nowakowski (Sophie) was a vocally bright presence.” PHILADELPHIA INQUIRER
WERTHER ACADEMY OF VOCAL ARTS 2016 |
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