Mezzo-soprano Aleks Romano has been hailed as representing “the best of the new operatic training and integrated performance.” Consistently praised for her integrity of character and lush vocal presence, Ms. Romano was awarded First Prize in the 2016 Gerda Lissner Foundation Competition. She was a 2015 Sullivan Foundation Career Development Award winner and second place winner in the Southeast Region of the 2015-2016 Metropolitan National Council Auditions.
After making her return during the summer to the Glimmerglass Festival as Aurelio in The Siege of Calais, Ms. Romano’s 2017-2018 season begins with a debut with Madison Opera essaying the title role in Carmen. She also makes her debut with Austin Opera singing the Komponist in Ariadne auf Naxos.
Last season featured company debuts with Portland Opera and Piedmont Opera as Isabella in L’italiana in Algeri, a return to Washington National Opera as Cherubino in Le nozze di Figaro, and another company debut with both Baltimore Concert Opera and Opera Delaware in the role of Arsace in Semiramide. She joined the roster of the Lyric Opera of Chicago to cover the role of Dulcinée in Don Quichotte. On the concert stage she appeared with the Kansas City Symphony for performances of the Mozart Requiem, and the Jacksonville Symphony for Handel’s Messiah.
In the 2015-2016 season, Ms. Romano returned to Washington National Opera as Mercedes in Carmen, Hansel in Hansel und Gretel, and covered the role of Wellgunde in Das Rheingold and Götterdämmerung. Additionally, she premiered the first act of Sheila Silver’s A Thousand Splendid Suns, as part of Opera America’s New Works Showcase and in workshop performances in Key West, FL.
During the 2014-2015 season, she joined the Domingo-Cafritz Young Artist Program, singing the Fox in The Little Prince, Sister Mathilde in Dialogues of the Carmelites, and Angelina (cover) in La cenerentola. In summer 2015, Ms. Romano returned to The Glimmerglass Festival to sing Second Lady in The Magic Flute, Dinah in Trouble in Tahiti (performed as a part of the Meet Me At The Pavilion series), and Marzia (cover) in Vivaldi’s Catone in Utica.
Previous seasons’ highlights include Angelina in La cenerentola (2014), Laura in Iolanta (2014), and Romeo in I Capuleti e i Montecchi (2013), all with Yale Opera; and Rosina in Il barbiere di Sivgilia at the Central City Opera family performance (2013).
A Mid-Atlantic Regional Finalist and Encouragement Award Winner in the 2014 Metropolitan Opera National Council Auditions, Ms. Romano was also awarded the prestigious Phyllis Curtin Career Entry Prize from Yale School of Music. In summer 2014, Aleks covered Kate Pinkerton in Madama Butterfly and Sondra Finchley in An American Tragedy at The Glimmerglass Festival. Ms. Romano is also an alumna of the Wolf Trap Studio (2011, 2012).
A huge proponent of art song and concert repertoire, Ms. Romano has been seen in solo recital at Yale University and Bard College, and presented a joint recital at the National Opera Center with other Domingo-Cafritz young artists in the spring of 2015. Previous concert appearances include the Yale Philharmonia (Woolsey Concerto Competition Winner, 2014), Voices of Cooperstown, the Waterbury Symphony Orchestra, and the American Symphony Orchestra. She has received additional prizes from Opera Theater CT (First Place, Amici Vocal Competition, 2014), Yale University (Lotte Lenya Scholarship, 2013), the Bard College Concerto Competition (2009, 2010), the Classical Singer University Competition (national semifinalist, 2010), and the Presser Foundation (2009).
The Glimmerglass Festival – The Siege of Calais
As his brave son – the travesti role Aurelio – Aleks Romano confirmed the exciting accomplishment of her thrilling Arsace at Opera Delaware’s Semiramide earlier this year. Projecting words and great ribbons of accurate coloratura over a huge range, Romano electrified the sage whenever she appeared.”
David Shengold, Opera
Opera Delaware – Semiramide
That son, Arsace, proved a revelation in Aleksandra Romano’s thrilling performance, marked by live-wire individual mezzo timbre, physical commitment and eloquent phrasing: a young artist to watch.”
David Shengold, Opera News
Baltimore Concert Opera – Semiramide
In the ‘trouser role’ of Arsace, mezzo Aleksandra Romano reveals a plush tone, agile technique and a flair for passionate phrasing.”
Tim Smith, The Baltimore Sun
Piedmont Opera – L’Italiana in Algeri
Aleks Romano, making her Piedmont Opera debut in the role of Isabella, dominates with both vocal pyrotechnics and physical warmth. She glows like the moon, thanks, in part, to strategic lighting design by Norman Coates.”
Lynn Felder, Winston -Salem Journal
Portland Opera – L’Italiana in Algeri
Aleksandra Romano had a field day as Isabella, enticing the men with a wink and a nod, and all the while singing with pinpoint accuracy and emotion.”
James Bash, Opera
The Glimmerglass Festival- Die Zauberflöte
Aleksandra Romano’s mezzo-soprano stood out among the very strong three ladies…
David King, Metroland
The slapstick trio of the queen’s ladies-in-waiting, Raquel Gozaelz, Aleksandra Romano and Claudia Chapa, illuminate the stage with their sensual antics and dazzle with their singing.
Linda Loomis, Syracuse.com
Raquel Gonzáles, Aleksandra Romano, and Claudia Chaps were beautifully matched as the First, Second, and Third Ladies, respectively. Their warm, appealing voices and excellent diction blended well yet displayed an individual vocal and dramatic personality.
The remainder of the cast were all Glimmerglass Young Artists, all very good. The Three Ladies of Raquel Gonzalez, Aleksandra Romano, and Claudia Chapa were charming and lusty.
The Glimmerglass Festival- Trouble in Tahiti
…Romano’s powerful, soaring soprano, coupled with her vacant stare, gives her housewife character poignant credibility.
Linda Loomis, syracuse.com
Washington National Opera – The Little Prince
Nearly stealing the show was Aleksandra Romano, whose sinuous, silvery-voiced, yet beguiling Fox provided not only this opera’s most touching, personal moment. She provided at least a partial answer to the Little Prince’s cosmic questions in a most believable way.”
Terry Ponick, Communities Digital News
“…a warm, exquisite fox, played and sung in dazzling style by Aleksandra Romano.”
Gary Tischler, The Georgetowner
“Aleksandra Romano as Fox sings what will become the work’s most treasured solo. This singer-actress represents the best of the new operatic training and integrated performance, crawling on her knees, romping across the stage and popping up from underground “burrows” yet never sounding strained or breathless. Romano blends both playfulness and touching sentient as she curbs her own wildness, allowing herself to be touched and tamed, and achieves what is perhaps the most enchanting character of the evening.”
Susan Galbraith, dctheatrescene.com
|Bellini||I Capuleti e i Montecchi||Romeo|
|Bernstein||Trouble in Tahiti||Dinah|
|Heggie||Dead Man Walking||Sister Helen Prejean|
|Mozart||La clemenza di Tito||Sesto|
|Mozart||Così fan tutte||Dorabella, Despina|
|Mozart||The Magic Flute||Second Lady|
|Mozart||Le nozze di Figaro||Cherubino|
|Offenbach||Les contes d’Hoffman||Nicklausse|
|Picker||An American Tragedy||Sondra Finchley|
|Portman||The Little Prince||The Fox|
|Poulenc||Dialogues des Carmelites||Soeur Mathilde|
|Puccini||Madama Butterfly||Kate Pinkerton|
|Rossini||Il barbiere di Siviglia||Rosina|
|Strauss, Richard||Der Rosenkavalier||Octavian|
|Vinci||Catone in Utica||Marzia|