Alexandra Oomens Soprano

Press

The soprano’s [Oomens] dual roles – as the environmentally aware Dafne, who asks to be turned into a laurel tree to avoid the attentions of Apollo, and the vampish goddess Aurora – give full rein to Oomens’ acting skills, while her bright and even voice shows why she is a crowd favourite.

The Daily Telegraph

Steve Moffatt

May 2021

Alexandra Oomens’ Dafne a shining young woman of fortitude and bright intelligence. Oomens doubles up spectacularly as the super-sexy Aurora, easily seducing Procris’s husband Cefalo. For Dafne, Oomens takes a firm, single-minded approach to the music up until Dafne’s melting end, and for Aurora her delectable soprano takes on all manner of seductive colours.

Limelight Magazine

Deborah Jones

May 2021

Alexandra Oomens, as the licentious Aurora and the chaste Dafne, has a voice of untarnished smoothness with a joyous, youthful blush to the sound; her final note, poised at the top of a ladder after deciding to turn into a tree, had lingering beauty.

The Sydney Morning Herald

Peter McCallum

May 2021

Oomens’ crystalline soprano radiates with penetrating appeal as she floats her notes nimbly across her music and making her twin roles so uniquely different, it is hard to believe it is the same person.

Australian Arts Review

Paul Selar

May 2021

Alexandra Oomens… as a scarlet Aurora and a green Dafne… glistened throughout through both character and vocal delight.

Bachtrack

Jeremy Eccles

May 2021

Soprano Alexandra Oomens… was superb; soaring with her pure clear voice, ravishing and delicate yet also revealing steely strength.

ArtsHub

Lynne Lancaster

April 2019

Alexandra Oomens’ “luminous” soprano… stood out, soaring above the voices of her colleagues. The first aria… gave space to Oomens’ voice, allowing us to hear the full range and beauty of her instrument… Her intonation alone was worthy of praise: each note, no matter how short, was impressively given its full due.

CutCommon

Alexandra Matthew

April 2019

The vocal platform is however dominated, without much surprise, by the soprano Alexandra Oomens in the title role… The emotional range she expresses is impressive and her singing, generous in virtuous feats and nuances, seduces as much as her play and physical energy.

Bachtrack

Georgiana Hatara

November 2018

Soprano Alexandra Oomens was outstanding… Her arias in both works were sheer delight, sung with lovely silvery tone, precise and well-articulated coloratura, smooth, even legato and emotional commitment. Her voice has considerable heft and can display a range of colours, pointing towards a successful career in opera, concert and recital.

Bachtrack

Sandra Bowdler

April 2019

The Australian Soprano was… thoroughly deserving of her prima donna status. Her tone was bright and creamy, her coloratura fully formed and her stamina impressive as she traced the path of a character who was spontaneous, playful, determined to get her way, and adorable — not just self-adoring. [Semele, Royal Academy Opera]

Opera Magazine

Yehuda Shapiro

November 2017