Alexandra Oomens Soprano


Alexandra Oomens sings… with jewel-like clarity, remarkable precision, and glittering articulation. When blindfolded to marry the unseen Fairfax, she moves with a vulnerability and tenderness that is one of the show’s moments of true pathos.

Opera Wire

Benjamin Poore

November 2022

Soprano Alexandra Oomens is delectable as Elsie Maynard, a petite entertainer with a massive personality, Oomens’ glorious, gilt-edged voice gleaming through the complex ensemble numbers.

Culture Whisper

Claudia Pritchard

November 2022

There is a standout performance from Alexandra Oomens… who delivers Elsie’s great showpiece, “Tis done, I am a bride” with a fervour that would not be out of place in Donizetti

The Guardian

Michael Billington

November 2022

Alexandra Oomens wins all hearts as a bright-toned Elsie

The Telegraph

By John Allison

November 2022

ENO Harewood Artist Alexandra Oomens… really shines throughout with a lovely tone of voice and tremendous ease that marks her out as one to watch.

London Unattached

Grace Richardson

November 2022

Alexandra Oomens combines lyricism with drama as conflicted Elsie

The Stage

George Hall

November 2022

Eno Harewood Artist Alexandra Oomens turns in a second winner as Elsie after her Pinafore Josephine… Oomens goes the whole mile in her Act One soliloquy on blindfolded wedlock for cash

The Arts Desk

David Nice

November 2022

Oomens supplies the most distinguished singing, with a bright, full tone; she’s also a touching, lively performer

Slipped Disc

Norman Lebrecht

November 2022

The most winning characterisation, both vocal and dramatic, comes from Alexandra Oomens in the role of Elsie, pert and clear as a bell, just as Gilbert and Sullivan would have wanted.

The Standard

Nick Kimberley

November 2022

Alexandra Oomens is a firecracker Josephine in a detachable crinoline, spooling out Sullivan’s mock-heroic coloratura in brilliant neon, and making the ensembles ping.

The Spectator

Richard Bratby

November 2021

Australian soprano Alexandra Oomens is especially impressive, singing with a new-found amplitude, ringing top notes in both her arias, and riding the chorus magnificently in the Act I finale. Not only that, her diction is immaculate. She’s not just feisty, she’s genuinely funny.


Clive Paget

November 2021

Josephine, winsomely played by Alexandra Oomens, whose crystalline voice has rather more personality than the character she plays

The Evening Standard

Evening Standard

November 2021

New Harewood Artist Alexandra Oomens is making her ENO debut this season with a sparky performance as Josephine. Her voice is brightly toned with a controlled and accurate coloratura and she captures the nuances of posh Josephine’s class-based dilemma with a praiseworthy degree of emotional integrity

London Unattached

Adrian York

October 2021

Alexandra Oomens is a superb Josephine.  She’s persuasive in her catalogue of the material concerns informing feminine romantic quandaries and her soprano gleams with a lovely Verdian glow in her Act 2 ‘scena’.

Opera Today

Claire Seymour

October 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.


Jeremy Eccles

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

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’ “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.


Alexandra Matthew

April 2019

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


Lynne Lancaster

April 2019

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.


Sandra Bowdler

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.


Georgiana Hatara

November 2018

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