Alexander Lewis

Alexander Lewis

With worldwide operatic engagements and acclaimed performances in musical theatre, Australian tenor Alexander Lewis is forging a unique career as a “cross-over” artist. In the world première of Matthew Aucoin’s opera Crossing, inspired by Walt Whitman’s journals, of his performances as John Wormley, the wounded young soldier, The New York Times hailed “The affecting young tenor Alexander Lewis brings cagey intensity to the role, singing by turns with flashes of defiance and pleading despair.”

Recent engagements have included the role of Tateh in Ragtime with The Production Company in Melbourne; the role of Max in Jonny spielt auf with Melbourne Opera and IOpera; a soloist in the Australian touring concert From Broadway to La Scala at the Adelaide Festival Centre, Perth Concert Hall, Queensland Performing Arts Centre, Arts Centre Melbourne, and the Sydney Opera House; and a soloist in Opera by the Lakes with Gippsland Opera.

Artist Bio

With worldwide operatic engagements and acclaimed performances in musical theatre, Australian tenor Alexander Lewis is forging a unique career as a “cross-over” artist. In the world première of Matthew Aucoin’s opera Crossing, inspired by Walt Whitman’s journals, of his performances as John Wormley, the wounded young soldier, The New York Times hailed “The affecting young tenor Alexander Lewis brings cagey intensity to the role, singing by turns with flashes of defiance and pleading despair.”

Mr. Lewis has garnered critical acclaim for his performances as the title role in Candide with the Sydney Philharmonic; the principal role of Count Danilo in The Merry Widow with Opera Australia, West Australian Opera and State Opera South Australia; and Tony in West Side Story with Opera Australia Handa Opera on Sydney Harbor. Broadway World hailed Mr. Lewis gave Candide “a delightful hope and optimism with an element of realism as his journey unfolds. He ensures that the text is clear whilst the vocals capture the emotions wonderfully from bold hope to restrained pathos.” As Count Danilo, Mr. Lewis “was inspiring, bringing freshness to the role – his timing and phrasing a joy to listen to. He created a likeable, yet stubborn foil to challenge widow Hanna. His voice was clear and his acting always sparkling, from his entrance as a drunken fop dragged from the excesses of Maxim’s, through to his final resigned acceptance of the Glavari fortune.” Furthermore, as Tony in West Side Story, critics wrote that Mr. Lewis “[won] the audience early on with his endearingly warm Something’s Coming.” Following his monumental success in these three leading roles, Mr. Lewis went on to make his Santa Fe Opera début performing the role of Laca in Jenufa.  Broadway World commending his “steely, bronze-edged tones,” while the Santa Fe Reporter his “charged and  electric actions.”

Recent engagements have also included the role of Tateh in Ragtime with The Production Company in Melbourne; the role of Max in Jonny spielt auf with Melbourne Opera and IOpera; a soloist in the Australian touring concert From Broadway to La Scala at the Adelaide Festival Centre, Perth Concert Hall, Queensland Performing Arts Centre, Arts Centre Melbourne, and the Sydney Opera House; and a soloist in Opera by the Lakes with Gippsland Opera.

Operatic engagements include the title role in Les contes d’Hoffmann in his European début at Komische Oper Berlin; the title role of The Nose with Opera Australia and the Komische Oper Berlin; multiple engagements with The Metropolitan Opera including the title role of The Nose, St. Brioche in The Merry Widow and productions of The Death of Klinghoffer and Die Fledermaus; and Tamino in Die Zauberflöte with West Australian Opera. Contemporary operatic engagements include title role in Candide with Sydney Philharmonia Choirs, John Wormley in a remounting of Crossing at Brooklyn Academy of Music in New York, Borsa in The Metropolitan Opera’s contemporary production of Rigoletto, and his Washington National Opera début as Flask in Moby Dick.

In recent concert engagements, he sang the tenor solo in Dvořák’s Stabat Mater with Omaha Symphony, the role of Gerhard in H. K. Gruber’s Gloria: A Pig Tale in The New York Philharmonic’s inaugural Biennial Festival, and a series of recitals and concerts throughout Australia. Additional concert highlights include The Serenade for Tenor, Horn, and Strings at The Bangalow Music Festival, the Petite messe solenelle with The Philadelphia Chamber Music Society, The Met’s Summer Recital series, the Manchester Music Festival, and the role of Poisson in The Opera Orchestra of New York’s performance of Adriana Lecouvreur at Carnegie Hall.

He completed The Metropolitan Opera’s Lindemann Young Artist Development Program, where highlights of his time there included Ferrando in The Met-Juilliard production of Così fan tutte, conducted by Alan Gilbert, and Vašek in The Met-Juilliard production of The Bartered Bride under the baton of Maestro James Levine.

He was praised for his performance as George in Sondheim’s Sunday in the Park with George for the Victorian Opera Company in Melbourne. “Alexander Lewis as the artist Georges Seurat brings a humanity, vulnerability and anguish to the role, as well as a flawless operatic tenor voice.” (TheatrePress Australia) Other musical appearances have included Anthony Hope in Sweeney Todd with Opera Australia, Frederick Barret in Titanic with Seabiscuit Productions, Tony in West Side Story with Opera Australia as part of its Handa Opera on Sydney Harbour series, and Raoul in The Phantom in The Phantom of the Opera with The Really Useful Group.

He is a graduate of The Western Australian Academy of Performing Arts’s acclaimed Music Theatre Program and the Merola Opera Program in San Francisco where he performed Nemorino in L’elisir d’amore.

Updated 4.1.21

Audio Samples

Audio Sample “Being Alive”
Audio Sample “Here I Stand”
Audio Sample “Greenhorn’s Aria”

Video

Excerpts from Sunday in the Park with George

From Broadway to La Scala 

Press

"...a powerful, crystal-clear voice..." – Omaha World Herald

Dvořák's Stabat Mater – “But Dvořák's work gave the majority of the solos to tenor Alexander Lewis, who projected the full range of Mary’s emotions to his listeners through the traditional Latin text. The words of the ‘Stabat Mater’ convey the Catholic belief that all of Jesus’ disciples — but especially Mary — take part in his redemptive work by dedicating their own sufferings to him. Lewis displayed a powerful, crystal-clear voice in depicting ‘the grieving Mother’ in the first of the work’s 10 movements. He was equally sweet and plaintive in asking Mary during the sixth movement to ‘let me sincerely weep with you.”

"...sexual portrayal that combined lyric urgency with vocal purity and heft...” – Opera News

Les contes d’Hoffmann – “When the Australian tenor Alexander Lewis took over in the Antonia episode, one wondered where he had been all night. A recent graduate of the Met’s Lindemann Young Artist Development Program, Lewis sang with fresh and exciting ardor over the course of the last two tales. It was a heady and, in the case of the Giulietta episode, sordidly sexual portrayal that combined lyric urgency with vocal purity and heft.”

“...Alexander Lewis as Danilo is flawless..." – The Sidney Morning Herald

The Merry Widow – “Alexander Lewis as Danilo is flawless, delivering dialogue with impeccable comedic timing and his dancing is just as impressive as his beautiful tenor. Danilo seemed to fall more in love with Hanna as they glided across the stage together. ”

“...Lewis stole every scene..." – Opera News

The Bartered Bride – “Lewis stole every scene, slicing crisply through the action in a trim little suit and spectacles and cavorting as if her were a singing, dancing Harold Loyd. His tenor- pleasantly light and moderately reedy- put across every syllable of J.D. McClatchy’s English-language translation.”

"...a sumptuous tone and a rock-solid musicality..." – TheatrePeople

Sunday in the Park with George – “Alexander Lewis’ tremendous performance, as the pair of artists Georges Seurat and his great-grandson George, is all the more brilliant for the restraint he shows in portraying these private, highly focused men. It is a major showcase of a role that gives the performer little in the way of ‘showy’ business to perform. If Georges were alive today, he may have been diagnosed somewhere on the Asperger’s spectrum, such were his difficulties in reading social cues and making connections with people. The charismatic Lewis neatly underplays this agitated energy, drawing the audience in to his performance. The knowing winks in “Putting it Together” are magnified by live video projection and Lewis works this like a pro. Best of all, Lewis’ singing is extraordinary, featuring a sumptuous tone and a rock-solid musicality that makes light work of the fiendish score.”