Carmen - Hans Heijmering

Carmen - Hans Heijmering

Inhabiting the rancorous, homophobic Miss Lightfoot, even during scene changes, soprano Alexandra Schoeny spews venom with coloratura flourishes. Stage Buddy

The finale is a setting of “The Heavenly Life” from Mahler’s “Des Knaben Wunderhorn.” American soprano Alexandra Schoeny produced a luminous sound and delivered the German words with pellucid clarity...for most of the movement’s approximately nine minutes, her voice shone with cherubic radiance, and after she sang her final words, ...audience members — heeding Rachev’s cue — made no sound for 10 seconds, then applauded enthusiastically.

Alexandra Schoeny sounded as Mrs. Julian, the mother-in-law of Owen [Wingrave], lyrical but relentless. - Neue Osnabrücker Zeitung

The American soprano Alexandra Schoeny produced a beautiful Dircé (the woman for whom Jason leaves Médée). Her vocal tone sounded warm and her acting was also strong. -

Soprano Alexandra Schoeny took a star turn with “Glitter and Be Gay” from Bernstein’s “Candide” Music in Cincinnati

"...Strongly cast...Alexandra Schoeny (Frasquita)... [was] excellent in ensemble and in solo moments. - Opera News

The offstage High Priestess of Alexandra Schoeny was firmly projected and hauntingly beautiful – Opera News

Alexandra Schoeny was completely compelling as Dircé. -

The most inspired moment in the score was given to Maria Celeste, performed with youthful freshness by Cincinnati soprano Alexandra Schoeny. She sang a letter from the convent to her father, finishing with a lovely vocalise. It was a poignant moment and beautifully staged. Schoeny also impressed as the Duchess Christina in the last two scenes. – Cincinnati Enquirer

Soprano Alexandra Schoeny sang Marie Celeste with grace and heft –  Music in Cincinnati

 “The American soprano Alexandra Schoeny sings coloratura with verve and is ashamed of almost nothing…” – NRC Handelsblad

Alexandra Schoeny makes the hysteria of Mrs Julian strikingly audible - Trouw

We learn of Galileo’s relinquishing his daughter Maria Celeste (the lovely soprano Alexandra Schoeny) to life as a cloistered nun – Seen and Heard International

Worth mentioning is the off-stage voice of the High Priestess, whose fervent, ethereal quality is required to make the consecration of Radames come across as the serious business it obviously is. The part was wonderfully filled by Alexandra Schoeny, a hometown product who had vital roles to play in all four productions of this company’s excellent 2013 season.  – Jay Harvey Upstage

Alexandra Schoeny is perfectly delicious as a feminine but steel-spined Zerlina, and sang a lovely “Batti, batti” and an even lovelier “Vedrai carino.” – Seen and Heard International

An excellent cast and memorable singing…The young peasant couple, Ryan Kuster as Masetto, and Alexandra Schoeny, as Zerlina, displayed chemistry – although Masetto’s slap of his bride-to-be was surprisingly violent. It was the setup for Schoeny’s quite lovely “Batti, batti,” in which she tried to mollify his suspicions…Schoeny communicated a sense of youthful innocence and charm ” – Cincinnati Enquirer

…the peasant bride Zerlina, coquettishly portrayed by Alexandra Schoeny in this production. The seductive“La ci darem la mano,” …was one of the performance’s highlights. Despite her susceptibility to the Don’s charms, Schoeny’s Zerlina was convincingly devoted to her intended bridegroom, Masetto (Ryan Kuster). By having Masetto strike her before she sings “Batti, batti, o bel Masetto,” Zvulun takes some of the sting out of Zerlina’s asking forgiveness by inviting him to beat her. The tender song thus becomes her way of shaming him for his violent outburst while apologizing at the same time.” – Jay Harvey Upstage

“A bullseye!” – Volkskrant

 “…Schoeny, with her crystal-clear, flexible sound was the best voice of the night.” –

 “Alexandra Schoeny is an excellent Adina. Besides convincing acting, she knows how to produce beautiful sounds from low to high with her compact, crystal-clear voice…She impressed me with high notes and fine coloratura. Moreover, she knows what she sings. She always gives the words convincing expression.” –

 “The maid Despina, raging comically with her dust cloth, disapproving, cunning, wittily beckoning, her nose in the air, the head just shaking, was delightful. Her voice is a silvery beam…” – Leidsche Dagblad

“…A clear promising tone…reveals lovely, fruity nuances as Sofia, the lover.” –

”…a stand-out for smooth voice, elegance of phrasing, musicality and interpretive skills…” – I Cannibali