A graduate of London’s Guildhall School of Music and Drama, Alessandro Fisher read Modern and Medieval Languages at Cambridge, where he was a Choral Scholar at Clare College, and was awarded Joint First Prize at the 2016 Kathleen Ferrier Awards. He is an Associate Artist of Classical Opera.
His operatic engagements have included Don Ottavio Don Giovanni for the Sinfonia d’Amici, Christian The First Commandment for Classical Opera, First Armed Man / Priest Die Zauberflöte for Garsington Opera at West Green House, Bellecourt Vert Vert for Garsington Opera (for whom he also covered Condulmiero in Maometto 11), Law Student in Matthew Rogers’ And London Burned for the Temple Church and Banquo in Luke Styles’ Macbeth for Glyndebourne Opera’s Jerwood Project and at the Linbury Studio Theatre of the Royal Opera House, Covent Garden.
He appeared in Jonathan Miller’s production of the St Matthew Passion at the National Theatre and was featured on BBC Radio 3’s Spirit of Schubert with Graham Johnson. Concert engagements have further included Evangelist St John Passion at Milton Court, Handel Dixit Dominus and Messiah at the Jesuitenkirche, Innsbruck, Testo Il Combattimento di Tancredi e Clorinda for Andrew Lawrence-King and The Wallace Collection, Stravinsky’s Mass with the London Symphony Orchestra at the Barbican Hall and recitals at the English Song Festival and the Oxford Lieder Festival.
Alessandro Fisher sang Delmiro / Alindo Hipermestra at the 2017 Glyndebourne Festival. His current engagements include Don Polidoro La finta semplice for Classical Opera, the title role and Arcas Dardanus and the B Minor Mass for English Touring Opera, Count Bandiera in Salieri’s La scuola de’ gelosi for Bampton Classical Opera and Fenton Falstaff for The Grange Festival. Concert highlights include The Last of the Romantics: Mahler and fin-de-siècle Vienna at the Oxford Lieder Festival 2017, Roussel’s Evocations with the BBC Philharmonic conducted by Yan Pascal Tortelier and a recital at London’s Wigmore Hall. For Retrospect Opera, he will record Theodore in Edward Loder’s Raymond and Agnes with the Royal Ballet Sinfonia conducted by Richard Bonynge.
Alessandro Fisher continues his studies with Iris Dell’Acqua.
Please note that this biography is not to be used for programmes. Current information is available on request.
Bellecourt: Vert-Vert / Garsington Opera at Wormsley
“Oxford Lieder Young Artists Winner Alessandro Fisher is the other tenor delight of this mixed evening.”
The Arts Desk
“He has an open, warm and soft-grained tenor: a delight to listen to.”
Christian: Die Schuldigkeit des ersten Gebotes / Classical Opera
“…sung with notable control and a steady, sympathetic tone by the tenor Alessandro Fisher…”
The Arts Desk
“As Christian, Alessandro Fisher, battling bronchitis though you would scarcely have guessed from his warm, lyrical tone, took physical risks (swooning to the ground in a confined space) and had lovely, rakish charm.”
“Alessandro Fisher was touching as the vacillating Christian. Flexible and agile of voice when lured by Worldly Spirit’s seductive charms, his tone took on a darker hue when he recalled the torments of Hell and Judgement…”
“Alessandro Fisher is a welcome new tenor on the block, smooth and elegant.”
Law Student: And London Burned / Temple Church
“Alessandro Fisher brings his considerable vocal lustre to bear on hios role as the insipid Law Student.”
The Financial Times
Dardanus / English Touring Opera
“Vocally the evening belongs to Alessandro Fisher. Originally cast in a supporting role, he stepped up into the title role with enormous confidence and a most wonderfully limpid tone to really make his mark. It is hard to imagine the role being sung better.”
Count Bandiera: La scuola de’ gelosi / Bampton Classical Opera
“As the Count, tenor Alessandro Fisher was every inch the Georgette Heyer hero in a bravura performance, naturally commanding and fabulously insouciant, with lyrical tone and surprising philosophical depth behind his agenda of pleasure...“
“Alessandro Fisher in the central role convincingly embodies the nature of a confident, charming rake with lyrical and well-projected singing…”
“Fisher displayed an appealing soft-grained tenor, expressive eyes and comic nous.”
Banquo: Macbeth (Luke Styles) / Linbury Studio Theatre
“…a soft-toned, engagingly naïve portrayal from Alessandro Fisher…”
“…notable contributions from (ia) Alessandro Fisher’s forthright Banquo.”
Kathleen Ferrier Awards 2016 / Wigmore Hall, London
“Fisher’s performance was supremely accomplished, delivering songs in French, Russian, German and Italian with equal ease – and his high notes were floated with exceptional grace.”
“Fisher was an engaging story-teller, relaxed of voice, singing with sensitive phrasing. Fisher’s voice was sweet and dreamy, but never unfocused, perfectly conveying the mystery and pathos of loss.”