Baritone Alexander Elliott continues to garner praise for his “rich and flexible baritone, ranging from mellow smoothness to electric energy.” (New York Observer) Alexander’s 2018-19 season begins with his return to Opera Omaha for his role debut as Silvio in Pagliacci. Alexander joins the roster of The Metropolitan Opera for the first time in November covering the role of Zurga in Penny Woolcock’s production of Les Pêcheurs de Perles, conducted by Emmanuel Villaume. He makes his debut with Virginia Opera in February reprising the role of Belcore in L’elisir d’amore before returning to Portland Opera as Hannah Before in Laura Kaminsky’s As One. He returns to the Indianapolis Symphony in June for performances of Bruckner’s Te Deum.

Alexander made two significant festival debuts in the summer of 2018, both in celebration of Leonard Bernstein’s centennial. He appeared with the Ravinia Festival in June under the baton of Marin Alsop as a Street Singer in Bernstein’s Mass, followed by performances of Maximilian, the Sea Captain, and the Grand Inquisitor in Candide at the Tanglewood Festival. Recent operatic appearances include as Sonora in La fanciulla del West in his debut with New York City Opera; Figaro in Il barbiere di Siviglia with Opera Santa Barbara; Anthony in Sweeney Todd and the title role of Eugene Onegin with Portland Opera; and as Guglielmo in Cosi fan tutte with Opera Omaha. A proponent of contemporary works, he appeared as John Brooke in Little Women with Madison Opera and Annapolis Opera; Edward Kynaston in Carlisle Floyd’s Prince of Players with the Florida State Opera; and in the role of Doug Hansen in Joby Talbot’s Everest at The Dallas Opera.

On the concert stage Alexander has appeared with The Knights for Master Peter’s Puppet Show at the Brooklyn Academy of Music; Marcello in La boheme and Escamillo in Carmen with the Rochester Philharmonic Orchestra; Marcello with the Greater Bridgeport Symphony; Papageno in Die Zauberflöte with the Orlando Philharmonic; Haydn’s Creation, Handel’s Messiah, and Bach’s St. Matthew Passion with the Pittsburgh Symphony Orchestra; and in a concert of operatic and holiday duets with acclaimed soprano Leona Mitchell under the auspices of the Tulsa Opera.

As a young artist with Portland Opera he performed the roles of Belcore in L’elisir d’amore, Le Dancaïre in Carmen, Frank in Die Fledermaus, and Sam in Pirates of Penzance. Other young artist performances include Il barbiere di Siviglia as Figaro and Rorem’s Our Town as Frank at Central City Opera, as well as the Captain in Eugene Onegin and Périchaud in La Rondine at Des Moines Metro Opera. In the 2013-14 season Alexander made his principal artist debut as Count Almaviva in Le nozze di Figaro with Tulsa Opera, having previously sung the roles of the Corporal in La Fille du Régiment and the Postman in Loesser’s Most Happy Fella as a 2012-13 studio artist.

Alexander is a graduate of the prestigious Merola program at the San Francisco Opera, and is the recipient of the 2013 John Moriarty Award for his outstanding contribution to Central City Opera. Alexander attended Florida State University where he studied with David Okerlund.