Baritone Alexander Birch Elliott continues to garner praise for his “heated intensity and beguiling timbre of mahogany.” (New York Times)
The 2026-2027 season brings a mix of exciting debuts and returns for Mr. Elliott. He joins renowned tenor Andrea Bocelli on tour for concerts in Seattle and Portland, followed by Lyric Opera of Kansas City as the Count in Le Nozze di Figaro. He returns to the Pittsburgh Symphony for Handel’s Messiah and Mozart’s Great Mass, the Nashville Symphony for further Messiah performances, and The Metropolitan Opera in the spring as Schaunard in La bohème.
Mr. Elliott joined The Metropolitan Opera again in the 2025-2026 season for multiple assignments, singing Schaunard in La bohème and Fléville in Andrea Chenier. He debuted the role of Sharpless in Madama Butterfly with Arizona Opera, returned to Opera Omaha as Figaro in Il barbiere di Siviglia, and made his debut with Utah Opera as Belcore in L’elisir d’amore. During the summer, he returned to Des Moines Metro Opera for highly acclaimed performances as the titular Król Roger in Szymonowski’s rarely-performed masterpiece.
The baritone made his debut with Florida Grand Opera in the 2024-2025 season, returning to the role of Escamillo in Carmen. He also joined The Metropolitan Opera, covering Figaro in Il barbiere di Siviglia. Mr. Elliott’s concert calendar included performances of the Brahms German Requiem with the Charlotte Symphony, Duke Robert in Strauss’ Guntram with the American Symphony Orchestra at Carnegie Hall, Handel’s Messiah with the Nashville Symphony, and an appearance with the Pacific Vocal Series in Newport Beach, CA.
Recent seasons have seen major debuts for Alexander, including at both The Metropolitan Opera and Houston Grand Opera, singing the role of Zurga in Les Pêcheurs de perles, as well as Los Angeles Opera as Enrico in Simon Stone’s production of Lucia de Lammermoor. He has since returned to Houston Grand Opera as Captain Von Trapp in the beloved The Sound of Music, and The Met for Papageno in the holiday presentation of The Magic Flute and covers of the title role in Don Giovanni and Schaunard in La bohème. He made his Carnegie Hall debut with the American Symphony Orchestra for Elgar’s The Kingdom, as well as with New York’s PROTOTYPE Festival as Lucifer in Rev 23, directed by James Darrah and conducted by Daniela Candillari.
Notable US appearances include Figaro in Il barbiere di Siviglia with Arizona Opera, Enrico in Lucia di Lammermoor with New Orleans Opera, Tulsa Opera for performances of Escamillo in Carmen, Opera Omaha as the titular Eugene Onegin, Guglielmo in Così fan tutte and Silvio in Pagliacci; Marcello in La bohème for his debut at San Diego Opera, Figaro in Il barbiere di Siviglia and Escamillo in Carmen with Opera Santa Barbara, Anthony in Sweeney Todd and the title role of Eugene Onegin with Portland Opera; as well as to the Pittsburgh Symphony Orchestra as Don Fernando in Fidelio. A frequent guest at Des Moines Metro Opera, his roles there range from Demetrius in A Midsummer Night’s Dream, to Prince Yeletsky in Pique Dame, as well as the role of Momus in Platée. A proponent of contemporary works, he appeared as John Brooke in Little Women with Madison Opera and Annapolis Opera; Edward Kynaston in Carlisle Floyd’s Prince of Players with the Florida State Opera; and covered the role of Doug Hansen in Joby Talbot’s Everest at Dallas Opera.
A frequent performer on concert stages around the United States, Alexander made two significant festival debuts in the summer of 2018, both in celebration of Leonard Bernstein’s centennial. He appeared with the Ravinia Festival under the baton of Marin Alsop as a Street Singer in Bernstein’s Mass, followed by performances of Maximilian, the Sea Captain, and the Grand Inquisitor in Candide at the Tanglewood Festival. Alexander made his debut with the Cleveland Youth Orchestra for Vaughan Williams’ Five Mystical Songs, the Grand Teton Music Festival where he performed Papageno under the baton of Sir Donald Runnicles, the Cincinnati May Festival for Haydn's The Creation, appeared with The Knights for Master Peter’s Puppet Show at the Brooklyn Academy of Music, and has returned to Pittsburgh Symphony Orchestra in performances as Don Fernando in Fidelio, Brander in Berlioz’s La Damnation de Faust, Handel’s Messiah and Mozart’s Great Mass, and the Indianapolis Symphony Orchestra for Bruckner’s Te Deum.
Alexander Alexander was a member of the young artist programs at Portland Opera and Tulsa Opera, is a graduate of the prestigious Merola Opera Program at the San Francisco Opera, and is the recipient of the John Moriarty Award for his outstanding contribution to Central City Opera. A native of Florence, South Carolina, Alexander attended Florida State University where he studied with David Okerlund.
.jpg)