Alexander Sprague’s current and future engagements include GASTONE La Traviata Glyndebourne Opera, ARON in the world premiere of Mikael Karlsson’s Fanny and Alexander La Monnaie, OCTAVIUS in the world premiere of Battistelli’s Julius Caesar Teatro dell’Opera di Roma, PRINZ LILO TARO Die Blume von Hawaii Theater Magdeburg, APOLLO L’Orfeo for the Royal Danish Opera Copenhagen, EURIMACO and GIOVE il ritorno d’Ulisse in patria Longborough Festival Opera, JANEK The Makropulos Case and THIBAULT Les Vêpres Siciliennes Welsh National Opera, SCARAMUCCIO Ariadne auf Naxos Edinburgh Festival and Opéra National de Montpellier, EDGAR LINTON Wuthering Heights and SCARAMUCCIO Opéra de Nancy, ACIS Acis and Galatea English National Opera and Opéra de Massy, EDUARDO Exterminating Angel Royal Danish Opera Copenhagen, and GONZALVEZ L’heure espagnole Angers Nantes Opera.
Recent performances include SHEPHERD II/APOLLO L’Orfeo Royal Opera House, Covent Garden at the Roundhouse, YWAIN Birtwistle’s Gawain Salzburger Festspiele, The Fairy Queen Staatstheater Stuttgart, ELECTRICIAN Powder Her Face and PLIABLE/SUPERSTITION Pilgrim’s Progress English National Opera, GRAF ELEMER Arabella Theater Dortmund, ELECTRICIAN Powder Her Face Royal Danish Opera Copenhagen, Teatro Arriaga Bilbao and Nationale Reisopera, JONATHAN DALE Kevin Put’s Silent Night Wexford Festival and Atlanta Opera, FLUTE A Midsummer Night’s Dream Stadttheater Klagenfurt, JÜNGLING Moses und Aron Welsh National Opera and on tour to the Royal Opera House, Covent Garden, GASTON/VICTORIN Die Tote Stadt Angers Nantes Opera and Opéra National de Lorraine, PASTORE II Monteverdi’s L’Orfeo Opéra National de Lorraine and Les Talens Lyriques at the Salle Pleyel, Paris, ALBERT HERRING (title role) and KUDRYASH Katya Kabanova Opera North, DON OTTAVIO Don Giovanni Opéra National du Rhin Strasbourg and Opera Theatre Company Dublin, The Golden Dragon Nouvel Opéra Fribourg, NOVICE Billy Budd Göteborg Opera, and LYNGSTRAND The Lady from the Sea Scottish Opera and Edinburgh Festival.
Alexander Sprague’s appeared in concert with Bournemouth Symphony Orchestra, City of Birmingham Symphony Orchestra, BBC Scottish Symphony Orchestra, Philharmonia Orchestra, London Handel Players at Wigmore Hall, London Festival Orchestra at The Royal Festival Hall, St Martin in the Fields, Northern Sinfonia and in recitals at The Leeds Lieder Festival, London Handel Festival and Handel House. He has worked with conductors Sir Colin Davis, Sir John Eliot Gardiner, Sir Charles Mackerras, Ingo Metzmacher, Martyn Brabbins, John Wilson, Laurence Cummings, Christophe Rousset and directors Claus Guth, Richard Jones, John Copley and Alvis Hermanis. He studied at The National Opera Studio and The Royal Academy of Music, London and is the winner of the Michael Oliver Prize of the London Händel Singing Competition.
Christopher Broom
Phone: +44 208 768 6604
Mobile: +44 7778794397
Email: chris@atholestill.co.uk
Representation: Worldwide
News | Alexander Sprague
News | Alexander Sprague, Ángeles Blancas Gulin
"Entering from the staircase, with all the pomposity of a drag queen diva, the fur-coated, bewigged Sprague demonstrates a theatrical exuberance which is matched by his engaging, flexible tenor. Clean of tone and varied of colour, Sprague is an intelligent performer, and proved highly alert to the musical and dramatic comedy."
Opera Today
"But the one truly bright spot was Alexander Sprague in the title-role. He sang the music absolutely beautifully, with clean, sweet tone and crystalline projection."
The Telegraph
"There was a real confidence on the part of the performers. Of particular note was tenor Alexander Sprague, singing Ferrando. He was sprightly, funny, and has a voice which projected unstrained purity."
The Arts Desk
"Alexander Sprague, as Acis, had plenty of spring and slice in his pleasing tenor, perfect for this confident charmer dressed in glitter-red sneakers and cool shades who was prone to showing off his press-up prowess mid-aria"
Opera Today
"In the relatively small part of Octavius, Alexander Sprague made a strong impression. He possesses an appealing tenor, which he used with authority to voice his ambitions and establish his ruthless character in the opera’s final words."
Opera Wire
