Alexandra Weaver is a British soprano with wide-ranging experience in opera and on the concert platform. She delights in singing music from across the classical spectrum and is equally at home singing a baroque aria as a contemporary piece. In particular she has a passion for songs of the late romantic period. Musically assured and linguistically versatile, she is renowned for performances full of sincerity and vivacity.
Alexandra studied music at Edinburgh University where she won the coveted Tovey Memorial Prize and was awarded Clutterbuck and Frazer Scholarships for further study. She continued her training in London at the Guildhall School of Music and Mayer Lismann Opera Centre, with further studies at the Britten-Pears School in Aldeburgh and L’Accademia Musicale Chigiana in Siena.
As a concert artist she has performed in venues throughout the UK, ranging from St Cecilia’s Hall and Queen’s Hall, Edinburgh, to the Purcell Room on London’s South Bank. She has given recitals in many of London’s fine historic churches, including St James’s Piccadilly, St Bride’s Fleet Street and St Martin-in-the-Fields. Whilst with English Touring Opera she gave recitals in hospices as part of their outreach programme, as well as participating in workshops for the deaf and blind.
On the operatic stage Alexandra spent several seasons with English Touring Opera and has enjoyed a career playing varied roles, which include: Nicklausse, Antonia’s Mother, Muse – The Tales of Hoffmann; Meg Page – Falstaff; Countess Ceprano, Giovanna – Rigoletto; Mercedes – Carmen; Barbarina, Bridesmaid – Le Nozze di Figaro; Papagena, Third Lady – Magic Flute; Zerlina – Don Giovanni; 2nd Niece – Peter Grimes and Anne Trulove – The Rake’s Progress. She has sung with many festival opera companies in this country and abroad, including Garsington, Stowe, Holland Park, Covent Garden Festival and Opus Gattières in the South of France.
Song recitals have always been central to Alexandra’s musical life. German lieder, French mélodies, Italian arie or English song share equal importance in her repertoire. Recent collaboration on Elizabeth Mucha’s Art Sung project has enabled Alexandra to perform this repertoire in a multi-media context and to bring the work of neglected composers like Zemlinsky, Pfitzner and Alma Mahler to a wider audience.
Always a keen promoter of contemporary vocal music, Alexandra created the role of Riccardis in Scottish composer Alasdair Nicolson’s chamber opera Hildegard whilst still a student, and most recently has performed and recorded Erotic Fragments by Martin Thomas Eastwood, a song cycle for piano and voice based on the old testament Song of Songs.