This season, Alexandra Loutsion debuts with Houston Grand Opera in Hänsel und Gretel (Die Mutter) and returns to Lyric Opera of Chicago for Medea (title role cover) and San Francisco Opera for Elektra (Overseer, title role cover). Additionally she joins the Thornton School of Music at the University of Southern California as a guest lecturer.
Last season she joined the roster of The Metropolitan Opera to cover the title role in Aida. Other engagements included debuts with Teatro Nuovo for Macbeth (Lady Macbeth) and returns to Virginia Opera for Don Giovanni (Donna Elvira), Dallas Symphony Orchestra for Die Walküre (Gerhilde and Sieglinde cover), Washington National Opera for Macbeth (Lady Macbeth cover), and Lyric Opera of Kansas City for Turandot (cover title role).
During 23/24, Loutsion made her role debut as Brünnhilde in Siegfried with Virginia Opera and her Lyric Opera of Kansas City debut as Mother Abbess in The Sound of Music. She returned to The Dallas Opera for Elektra (Overseer), covered Aida at Lyric Opera of Chicago, and joined Houston Grand Opera’s roster covering Kundry in Parsifal. On the concert stage, she debuted with Dallas Symphony Orchestra in Die Walküre (Gerhilde) under Fabio Luisi and with the Harvard-Radcliffe Orchestra in Tristan und Isolde (Act II, Isolde).
Other recent performances include Brünnhilde in Die Walküre with Virginia Opera and Opera Santa Barbara; house debuts at Washington National Opera in Elektra (Overseer) and Opera Idaho in Macbeth (Lady Macbeth); returns to Pittsburgh Opera in Il trovatore (Leonora) and Austin Opera in Fidelio (Leonore); and Lyric Opera of Chicago covering Macbeth (Lady Macbeth). She also appeared at Bard College in Salome (title role), The Dallas Opera in Opera’s Greatest Hits!, and The Glimmerglass Festival in The Sound of Music (Mother Abbess).
Loutsion debuted at Chicago Opera Theater in Sankaram’s Taking Up Serpents (Kayla) and at Lyric Opera of Chicago in Twilight Gods (Brünnhilde), gave a solo recital at Pittsburgh Festival Opera, and made her role and house debut with Minnesota Opera in Elektra (title role), followed by returns to Pittsburgh Opera in Florencia en el Amazonas (title role) and Palm Beach Opera in Tosca (title role). Internationally, she debuted with Canadian Opera Company in Elektra (Overseer), returned to Central City Opera in Il trovatore (Leonora), debuted with New Orleans Opera in Turandot (title role), and appeared at San Francisco Opera in Elektra (Overseer) and Turandot (title role cover).
Puccini remains central to her repertoire. She has performed Turandot with Pittsburgh, Tulsa, and New Orleans Operas; Tosca with Palm Beach Opera, Wolf Trap Opera, Sacramento Philharmonic & Opera, Fort Wayne Philharmonic, and Central City Opera; and Madama Butterfly with Palm Beach Opera, Wolf Trap Opera, and Opera on the James. Other roles include Rusalka (Foreign Princess) with Arizona Opera and Florencia en el Amazonas (title role) with Arizona Opera
On the concert stage, she has sung soprano solos in Verdi’s Messa da Requiem with Santa Fe Symphony and Academy Chamber Orchestra of Pittsburgh, Beethoven’s Symphony No. 9 with Cathedral Choral Society, West Virginia Symphony, The Syracuse Orchestra (née Symphoria), Erie Philharmonic, and Ithaca College Chamber Orchestra, and debuted the soprano solos in Haydn’s Mass in Time of War with Cathedral Choral Society.
An advocate for contemporary works, she has performed Nico Muhly’s Dark Sisters (Almera) with Pittsburgh Opera, Ricky Ian Gordon’s Orpheus and Euridice (Euridice) at Boston Court Performing Arts Center, Veronika Krausas’ The Mortal Thoughts of Lady Macbeth (Witch 3) with Vera Ikon Productions, and Lowell Liebermann’s Miss Lonelyhearts (Fay Doyle) in its West Coast premiere.
2025-2026
