“Impeccable the New Yorker Alexandra Urquiola, a Marcellina who…gave the character a colossal dimension. She received a resounding applause at the end of the night.”

- PLATEA MAGAZINE

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

Her upcoming engagements include Mercédès in Carmen at Deutsche Oper am Rhein and a featured appearance in a Verdi Gala at the Philharmonie Berlin.

A graduate of the renowned Opernstudio at Staatsoper Stuttgart, Alexandra has performed a wide array of repertoire, from classic to contemporary.

Her recent roles include Küchenjunge in Rusalka (Staatsoper Stuttgart), Marcellina in Le nozze di Figaro (Ópera de Oviedo), Aristea in L’Olimpiade (Irish National Opera), Carmen in Carmen (Theater Aachen), and Marchesa Melibea in Il viaggio a Reims (Theater Aachen). She appeared in Rufus Wainwright’s Hadrian at Teatro Real and the Peralada Festival, and in the world premiere of Clarice Assad’s ELEMENTOS with the New York Festival of Song

“…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

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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

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