
Alexander Sprague’s most recent and future engagements include SNOUT A Midsummer Night’s Dream Teatro de la Maestranza, GASTONE La Traviata Glyndebourne Opera, ARON in the world premiere of Mikael Karlsson’s Fanny and Alexander La Monnaie, concerts of Stravinsky’s Pulcinella Fondazione Arturo Toscanini Parma and Festival Respighi Bologna, PRINZ LILO TARO Die Blume von Hawaii Theater Magdeburg, and APOLLO L’Orfeo Royal Danish Opera.
Past performances include SHEPHERD II/APOLLO L’Orfeo Royal Opera House, Covent Garden at the Roundhouse, YWAIN Birtwistle’s Gawain Salzburger Festspiele, OCTAVIUS in the world premiere of Battistelli’s Julius Caesar Teatro dell’Opera di Roma, The Fairy Queen Staatstheater Stuttgart, ELECTRICIAN Powder Her Face, ACIS Acis and Galatea and PLIABLE/SUPERSTITION Pilgrim’s Progress ENO, GRAF ELEMER Arabella Theater Dortmund, ELECTRICIAN Powder Her Face and EDUARDO Exterminating Angel Royal Danish Opera, 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, EURIMACO and GIOVE Il ritorno d’Ulisse in patria Longborough Festival, SCARAMUCCIO Ariadne auf Naxos Edinburgh Festival and Opéra National de Montpellier, EDGAR LINTON Wuthering Heights and SCARAMUCCIO Opéra de Nancy, JANEK The Makropulos Case and THIBAULT Les Vêpres Siciliennes and JÜNGLING Moses und Aron Welsh National Opera and on tour to the ROH, GONZALVE L’heure espagnole and 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, 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 and GONZALVE L’heure espagnole Nouvel Opéra Fribourg, NOVICE Billy Budd Göteborg Opera, and LYNGSTRAND The Lady from the Sea Scottish Opera and Edinburgh Festival.
Alexander 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 RIAS Kammerchor and in recitals at Leeds Lieder Festival, London Handel Festival and Handel House. He has worked with Sir Colin Davis, Sir John Eliot Gardiner, Sir Charles Mackerras, Ingo Metzmacher, Martyn Brabbins, John Wilson, Laurence Cummings, Christophe Rousset as well as Claus Guth, Richard Jones, John Copley and Alvis Hermanis. He studied at The National Opera Studio and The Royal Academy of Music and won the Michael Oliver Prize of the London Handel Singing Competition.
Christopher Broom
Phone: +44 208 768 6604
Mobile: +44 7778794397
Email: chris@atholestill.co.uk
Representation: Worldwide
"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