Alison Langer
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British-Irish Soprano Alison Langer is a graduate of the Guildhall School of Music and Drama. Her most recent and future engagements include Oscar Un ballo in maschera and Valencienne The Merry Widow (Opera Holland Park)‚ Rose Maurrant Street Scene (Opera North), Violetta La Traviata for Opera Holland Park’s Christine Collins Performance‚ Young Heidi Follies at the National Theatrea Whistle stop tour for Opera North‚ Musetta La Boheme with Iford Arts‚ Bridesmaid Le Nozze di Figaro at Glyndebourne and Violetta La Traviata for Glyndebourne's Education Department. Alison can be seen on ITV's popular TV series Victoria, performing as the opera singer Jenny Lind. Alison is grateful to be the recipient of a Richard Angas Memorial Award.

Alison made her professional debut as Lisette La Rondine (Opera in the Open‚ Dublin)‚ since when she has appeared as Edith The Pirates of Penzance (Opera Holland Park)‚ Norina I Pazzi per Progetto‚ title role Erodiade‚ The Countess The Cunning Peasant and the New Queen in the world premiere of Snow in an inaugural production by The Opera Story.

On the concert platform‚ she has sung most recently in Mozart's C Minor Mass (Bergen), Mozart’s Requiem at St Martin in the Fields‚ with other concert venues including Buxton Opera House‚ Barbican Centre ‚ Birmingham Symphony Hall‚ Queen Elizabeth Hall‚ Royal Albert Hall‚ The House of Lords and The Ritz. She also performs a Recital Programme based on the life of Jenny Lind.

www.alisonlanger.com

Un ballo in maschera, Opera Holland Park

Meanwhile, Alison Langer, who dances as brilliantly as she sings, makes marvellous work of Gustavo’s factotum Oscar, ensuring that Verdi’s blend of high comedy and grim tragedy is as pungent as it is in Rigoletto.

The Independent (June 2019)

As Oscar (one of Verdi’s rare girl-dressed-as-boy roles), Alison Langer moves and sings vivaciously in those numbers where Verdi seems to be discovering his inner Johann Strauss.

The Times (June 2019)

Alison Langer makes a fine Oscar, with her silvery tone and precise coloratura.

The Guardian (June 2019)

But it is two supporting roles that linger in the mind...The second scene-stealer is Alison Langer, as Gustavo’s servant Oscar. Langer gives the role a Cherubino-like sparkle, adding a welcome lightness to Verdi’s dark story.

The Stage (June 2019)

Alison Langer’s cheeky factotum Oscar and Rosalind Plowright’s imperious sorceress Madame Arvidson were superbly defined, adding juice to the melodrama and singing with absolute conviction despite the silliness of their roles.

Bachtrack (June 2019)

The sense is of the closed world of a 1940s gentleman’s club, a place whose sober, ritual solemnity exuberant page Oscar (Alison Langer) disregards with a cheeky wink and a swagger, climbing on benches, ruffling heads and egos as he goes…. Alison Langer’s Oscar is a romping delight, dashing off her arias with ease and plenty of nifty choreography...

The Arts Desk (June 2019)

Good singers fill the principal roles:.. Alison Langer a sprightly Oscar...

The Sunday Times (June 2019)

Despite Duprels’s excellence, she was nearly outshone by the fabulous Oscar of Alison Langer. She is a rising star, beyond doubt. I had enjoyed her Erodiade in the Guildhall production in 2014 of Stradella’s San Giovanni Battista (review) and it is good to see that the trajectory is on course; she also played the role of Violetta (La traviata) in last year’s Young Artists performance, which gives an idea of her ambition. Completely convincing both in terms of acting and vocally, she took the trouser role of Oscar with brilliance; vocally, her pyrotechnics were of the very first order. That first act of Traviata last year must have been something else.

Seen and Heard International (June 2019)

As Oscar Alison Langer is an engaging presence. She sings with brightness and charm, the dazzle of the coloratura not overdone...

Classical Source (June 2019)

Another first rate performance comes from Alison Langer as Oscar, whose excellent singing is complemented by some slick moving at the ball.

MusicOMH (June 2019)

Alison Langer’s Oscar, dressed in black trousers, waistcoat and top hat, radiated charm, not least through faultless coloratura, and provided an ideal comic antidote until grief-striken at Gustavo’s death. She Danced with equal assurance and is a clearly a talent to watch.

Opera Magazine (August 2019)

Follies, The National Theatre

The operetta style "One More Kiss", for example, with its ‘never look back' is placed exactly at the moment when all the simmering discontent of the broken relationships is about to reach a head. On opening night, as sung by original cast member, Josephine Barstow (stepping in for an indisposed Felicity Lott) and her young counterpart Alison Langer, it had a shimmering loveliness that contrasts with the emotional nihilism of the song that follows it...

What's On Stage (February 2019)

La Traviata‚ Opera Holland Park Young Artists Performance

Langer – who might have got the inside track on Violetta when her Young Heidi shadowed Josephine Barstow in Follies at the National Theatre – presented a heroine who was all of a piece‚ naturally sympathetic and retaining a certain reserve rather than pleading for our sympathy. Likewise‚ her vocal interpretation‚ anchored in the caressing warmth of her middle register‚ was admirably integrated.

Opera Magazine (August 2018)

Follies‚ The National Theatre

...she gets to duet with her alter ego‚ the lusciously voiced Alison Langer‚ all the strings of the plot come together‚ and – for a few instants – we feel we completely ‘get’ what the show is about.

British Theatre.com (September 2017)

Josephine Barstow duets poignantly with Alison Langer...

Evening Standard (September 2017)

...we hear it blossom in her younger self‚ Alison Langer – but she‚ too‚ commands attention whenever she’s on stage.

The Arts Desk (September 2017)

...and the ecstatic operetta duet “One More Kiss” by the great classical soprano‚ Josephine Barstow‚ making her NT debut at 78‚ and the astonishing Alison Langer.

The Independent (September 2017)

There’s Josephine Barstow and Alison Langer’s duet as old and young Heidi‚ joining their two operatic soprano voices with crystal clarity.

The Stage (September 2017)

La bohème‚ Iford Arts

...while Marcello’s former love Musetta‚ (the charismatic Alison Langer) makes a shameless display of throwing over her rich benefactor in order to rekindle their affair. In a scene filled with gaiety and youthful hedonism‚ Langer has star presence as Musetta‚ while the character’s questionable morals make Mimì appear all the more ethereal. There’s a convincing chemistry between both Flaum and Flavin and Langer and Lester‚ making for a captivating piece of storytelling that does sometimes leave the other characters forgotten.

The Arbuturian (May 2017)

Nicholas Lester’s Marcello and Alison Langer’s Musetta exemplify their characters’ charisma‚ selfcentredness and innate goodness...

The Fine Times Recorder (May 2017)

Snow‚ The Opera Story

The soprano Alison Langer’s New Queen was particularly strikingly delivered...

Opera Magazine (May 2017)

...Alison Langer made a strong impression in the small role of the mistress who becomes the new Queen.

Planet Hugill (February 2017)

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Warner Classics

Follies, Stephen Sondheim

The National Theatre 2018 Cast Recording