In 26/27, Alexandra Loutsion returns to The Metropolitan Opera for Lincoln in the Bardo (Reverend cover), Houston Grand Opera for Der Rosenkavalier (Marianne Leitmetzerin), and Pittsburgh Festival Opera for Un ballo in maschera (Amelia). On the concert stage, she debuts with the Richmond Symphony in Strauss’ Four Last Songs and Wagner’s “Liebestod” and performs excerpts from Elektra and Mahler’s Symphony No. 8 with Colorado MahlerFest. She also performs Strauss’ Four Last Songs with the University of Southern California Thornton School of Music Orchestra.
Last season, Alexandra debuted with Houston Grand Opera in Hänsel und Gretel (Die Mutter) and returned to Lyric Opera of Chicago for Medea (title role cover) and San Francisco Opera for Elektra (Overseer; title role cover). She also served as a guest lecturer at the University of Southern California Thornton School of Music.
In the 24/25 season, Alexandra joined the roster of The Metropolitan Opera for Aida (title role cover). Other engagements included a debut with Teatro Nuovo in Macbeth (Lady Macbeth) and returns to Virginia Opera for Don Giovanni (Donna Elvira), the Dallas Symphony Orchestra for Die Walküre (Gerhilde; Sieglinde cover), Washington National Opera for Macbeth (Lady Macbeth cover), and Lyric Opera of Kansas City for Turandot (title role cover).
During 23/24, Alexandra made her role debut in Siegfried (Brünnhilde) with Virginia Opera and her Lyric Opera of Kansas City debut in The Sound of Music (Mother Abbess). She returned to The Dallas Opera for Elektra (Overseer) and Lyric Opera of Chicago for Aida (title role cover), and joined the roster of Houston Grand Opera for Parsifal (Kundry cover). On the concert stage, she debuted with the Dallas Symphony Orchestra in Die Walküre (Gerhilde) under Fabio Luisi and the Harvard-Radcliffe Orchestra in Tristan und Isolde (Act II, Isolde).
Other recent performances include Die Walküre (Brünnhilde) with Virginia Opera and Opera Santa Barbara; Washington National Opera in Elektra (Overseer); Opera Idaho in Macbeth (Lady Macbeth); Pittsburgh Opera in Il trovatore (Leonora); Austin Opera in Fidelio (Leonore); and Lyric Opera of Chicago for Macbeth (Lady Macbeth cover). She also appeared at Bard College in Salome (title role) and The Glimmerglass Festival in The Sound of Music (Mother Abbess).
Alexandra debuted with Chicago Opera Theater in Sankaram’s Taking Up Serpents (Kayla) and Lyric Opera of Chicago in Twilight Gods (Brünnhilde), and made her role and house debut with Minnesota Opera in Elektra (title role). She returned to Pittsburgh Opera in Florencia en el Amazonas (title role) and Palm Beach Opera in Tosca (title role). Other appearances include Canadian Opera Company and San Francisco Opera in Elektra (Overseer), Central City Opera in Il trovatore (Leonora), and New Orleans Opera in Turandot (title role).
Puccini remains central to her repertoire. She has performed Turandot (title role) with Pittsburgh, Tulsa, and New Orleans Operas; Tosca (title role) with Palm Beach Opera, Wolf Trap Opera, Sacramento Philharmonic & Opera, Fort Wayne Philharmonic, and Central City Opera; and Madama Butterfly (Cio-Cio-San) with Palm Beach Opera, Wolf Trap Opera, and Opera on the James. Other roles include Rusalka (Foreign Princess) and Florencia en el Amazonas (title role) with Arizona Opera.
On the concert stage, she has sung Verdi’s Messa da Requiem with the Santa Fe Symphony and Academy Chamber Orchestra of Pittsburgh and Beethoven’s Symphony No. 9 with the Cathedral Choral Society, West Virginia Symphony, The Syracuse Orchestra, Erie Philharmonic, and Ithaca College Chamber Orchestra. She also performed Haydn’s Mass in Time of War with the Cathedral Choral Society.
2026-2027
