“Mezzo-soprano Alexandra Urquiola was moving in her urgent and sensitive "I was standing in a garden," from "Trouble in Tahiti" by Leonard Bernstein.”

- BAY AREA REPORTER

Praised for her “rich and capacious mezzo soprano” (San Francisco Chronicle), Cuban-American singer Alexandra Urquiola is quickly gaining notoriety on the international stage.

Urquiola returned to the Teatro Real this season, singing Segunda Doncella and covering Néris in their production of Cherubini’s Médée. Immediately after, she made her debut as Mercédès in Staatsoper Stuttgart’s production of Carmen.

Later this season, Alexandra can be seen in the title role of Carmen at Theater Aachen, as well as their production of Il viaggio a Reims as Marchesa Melibea. She will tour Ireland, England, and Switzerland with Irish National Opera’s production of L’Olimpiade as Aristea.

In the concert field, Alexandra can be seen performing Canto General by Mikis Theodorakis with Berliner Cappella at the Philharmonie Berlin. She will also sing as the soloist in Verdi’s Requiem at the Philharmonie Berlin.

Learn More

Listen

“…Alexandra Urquiola als Dinah zeigen bei der Aufführung starke Bühnenpräsenz. Vor allem bei der grotesken Arie „Trouble in Tahiti“ kann sich Alexandra Urquiola mit tragfähigen Kantilenen profilieren.”

— Online Merker, 2020

Upcoming events

What people are saying

Als Dinah begeisterte Alexandra Urquiola mit ihrem facettenreichen Mezzosopran. Sie ist seit der vergangenen Spielzeit Mitglied des Stuttgarter Opernstudios und setzte mit dieser ausgefeilten Interpretation ebenfalls eine markante singdarstellerische Duftmarke

— J.M. Weineke for Das Opernglas, 2020

Urquiola's warm, ingratiating mezzo-soprano brought the vivid texts to life, with clear diction and soaring phrasing.

— Cadenza, 2019

Mezzo-soprano Alexandra Urquiola was moving in her urgent and sensitive "I was standing in a garden," from "Trouble in Tahiti" by Leonard Bernstein.

— Bay Area Reporter, 2018

…Alexandra Urquiola als Dinah zeigen bei der Aufführung starke Bühnenpräsenz. Vor allem bei der grotesken Arie „Trouble in Tahiti“ kann sich Alexandra Urquiola mit tragfähigen Kantilenen profilieren

— Online Merker, 2020

Alexandra Urquiola’s liquid mezzo and striking performance of “Water—Maré de Água Viva (A Tide of Living Water)” fell at the sublime confluence of sorrow and peace.

— I Care if You Listen, 2019

Alexandra Urquiola deployed her rich and capacious mezzo-soprano winningly but all too briefly as the brothel keeper Mother Goose...

— San Francisco Chronicle, 2018

Below the stage, the S.F. Opera Orchestra, conducted by Nashville Opera’s Dean Williamson, shifted smoothly from one genre of music to another, doing equal justice to Rossini (after a somewhat labored start, at the orchestra’s return from summer vacation), Donizetti, Richard Strauss, and an especially poignant Bernstein — accompanying Alexandra Urquiola’s haunting rendition of “I was standing in a garden” from Trouble in Tahiti.

— San Francisco Classical Voice, 2018

Quick swerves between styles and centuries are a matter of course at a Merola finale. No sooner had the grinning tenor WooYoung Yoon celebrated the high C’s he’d just hit in “Ah, mes amis!” from Donizetti’s “La fille du régiment” than mezzo Alexandra Urquiola was spilling out her poignant if somewhat occluded garden dream to her psychiatrist in Bernstein’s “Trouble in Tahiti.”

— San Francisco Chronicle, 2018

Gallery