Portraits of a Mind / Albion Records 2023
“The cycle’s five songs are exceptionally well sung by Alessandro Fisher, who convincingly encompasses emotions stretching from the balmy pastoralism of the opening of ‘The Lark Ascending’ (with chirruping near quotations from VW) to the pained retrospection of the Rossetti setting ‘Echo.’”
BBC Music Magazine
“The performance of On Wenlock Edge is exemplary, the finest I have heard. The balance of tenor and instrumentalists is sheer perfection. The two voices in the conversation of Is My Team Ploughing? by Fisher could not be bettered. His pure tenor rings out every bit as strongly as the bells in Bredon Hill.”
British Music Society
“Alessandro Fisher is already an artist with interpretive depth to match a remarkable voice…his voice has power and a degree of mettle as well as beauty and sheen, though he also shows how he can scale it down. His production is perfectly even, with a rapid vibrato but no wobble or beat; his intonation and breathing are secure, and his diction is clear and crisp.
Fanfare
“Alessandro Fisher acquits himself very well indeed. I like his balance of strength and frailty in these Housman settings, mirroring the poems’ subject of the fragility of life… a marvellous rendition from Alessandro Fisher.”
Gramophone
Ferrando: Così fan tutte / The Grange Festival 2023
“Alessandro Fisher, immaculately stylish, gives us a breathtaking Un’Aura Amorosa and an angrily disconsolate Tradito, Schernito.”
The Guardian
“This was as close to perfection as any can be…there are two exceptional performances which would receive standing ovations in many international houses. Alessandro Fisher showed his potential here as Fenton in the 2019 Falstaff, and his Ferrando revealed a genuinely Italianate sound, mellifluous tone and nuanced phrasing; ‘Un’aura amorosa’ was perfect.”
Music OMH
“Alessandro Fisher as Ferrando showed great comic timing and impeccable diction in the recitatives, a Lieder singer’s musicianship and care for detail in the ensembles, and delivered ‘Un’aura amorosa with a sensitivity that made one wonder anew at the beauty Mozart could dispense in the service of dubious morality.”
Opera
“…the lyrically appealing Alessandro Fisher.”
Opera Now
“Alessandro Fisher’s unfailingly sweet-voiced Ferrando moves from a cartoonishly buffo figure in Act Ito a genuine lover in Act II, touchingly smitten and ultimately lost: his Tradito, schernito was a good deal more than an outburst of wounded male pride, and his duet with the finally melting Fiordiligi – Fra gli amplessi – felt like the heart of the opera.”
Seen and Heard International
“…tenor Alessandro Fisher’s Ferrando possesses exceptional lyrical appeal…”
The Stage
“Alessandro Fisher is one of the best comic actors around, a tumble of awkward limbs and mobile features. But it’s his ability to pivot in a single recit from slapstick to tragedy, his musicality and flexibility of tone, that carries it.”
The Telegraph
Vaughan Williams: On Wenlock Edge / Nash Ensemble 2022
“…bright and lovely sound…rightly riveting, in consort with the instruments, for the big drama of “Bredon Hill”.”
The Arts Desk
“This was a performance where Alessandro Fisher’s engaging tenor was fully part of the chamber ensemble rather than being over spotlit. Fisher sang with vibrant, Italianate tone combined with superb diction. He is a fine story teller, easily moving between high drama and comedy, always with expressive phrasing.”
Planet Hugill
Osvaldo: Il proscritto / Opera Rara 2022
“Alessandro Fisher was a characterful leader of the castle guards.”
Opera Today
First Brother: The Seven Deadly Sins / London Symphony Orchestra 2022
“Good to be introduced to tenor Alessandro Fisher as the other Brother, a name I am sure we will encounter again.”
Seen and Heard International
“The accompanying male-voice ensemble – Andrew Staples and Florian Boesch as Anna’s father and mother, with Alessandro Fisher and Ross Ramgobin as the brothers – provided a suitably pungent commentary.”
The Standard
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.”
The Independent
“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.”
Opera Today
Songs by Prince Albert of Saxe-Coburg and Gotha / BBC Proms 2019
“Alessandro Fisher’s light tenor was ideal for these tender settings, and his admirable diction enhanced the stylish phrasing.”
Classical Source
“…his light tenor mellow and enviably even-toned.”
The Guardian
“Alessandro Fisher’s tenor voice was spot on for delivery of the Lieder, which he did with sensitivity and well-judged technique.”
Music OMH
“…in five sub-Schubertian songs by Prince Albert, mellifluously sung by Alessandro Fisher, you did get a feel for how musical soirées must have sounded in the 1850’s.”
The Times
War Requiem / Lincolnshire Remembers
“Fisher sang with a beautifully elegant sense of line, not being frightened to fine his tone right down.”
Planet Hugill
Theodore: Raymond and Agnes / Retrospect Opera CD
“Alessandro Fisher is first-rate as Raymnd’s Pedrillo-like valet.”
Opera
Fabio: Berenice / Royal Opera, London
“Alessandro Fisher impressed with a strong, flexible tenor as Fabio.”
Bachtrack
“…with a finely nuanced tenor voice and plenty of acting aplomb.”
Music OMH
“I particularly liked Alessandro Fisher, a stylish and meaty tenor…”
Opera Now
“…strong voiced and with bags of presence.”
Seen and Heard International
Fenton: Falstaff / The Grange Festival
“…delightfully partnered by Alessandro Fisher’s Fenton, whose “Dal labbro” is enough to make you curse its brisk interruption by Alice and her fellow masqueraders.“
The Arts Desk
“…gave an ardent performance as Nannetta’s young beau with his supple, lyrical tenor…”
Bachtrack
“Alessandro Fisher is a gratifying Fenton – whose ardent tenor rings out tellingly in the final scene.”
Classical Source
“Alessandro Fisher’s subtly voiced Fenton…”
Financial Times
“As Fenton, Alessandro Fisher sang with real Italianate ardour, his phrases meltingly sweet and his high notes effortlessly floated…”
Music OMH
“Alessandro Fisher’s winning Fenton, his last-act aria a dreamy highlight.”
Opera
“The sweet, puppyish Fenton of Alessandro Fisher…’
Opera Now
“Alessandro Fisher’s Fenton oozes graceful tenor charm…”
The Stage
“Alessandro Fisher’s lyrical Fenton…”
The Sunday Times
Lucano: L’Incoronazione di Poppea / Salzburg Festival
“Alessandro Fisher, as Lucano, did a great job in a very sensuous duet with Kate Lindsey’s Nerone.“
Bachtrack
Bastien: Bastien und Bastienne / Signum CD
”As Bastien, Alessandro Fisher is light-voiced, ardent and convincing…”
MusicWeb International
“…an enchanting performance…the vocal freshness and allure of Anna Lucia Richter’s Bastienne and Alessandro Fisher’s Bastien…”
Opera
Don Polidoro: La finta semplice / Classical Opera
“Given tenor Alessandro Fisher’s honeyed tones, Rosina might have done better to choose him; why she falls for Don Cassandro is a mystery…”
The Arts Desk
”Lukas Jakobski presented his strong bass to excellent effect as Don Cassandro and Alessandro Fisher his equally accomplished tenor as Don Polidoro, with the splendid acting of both helping to stamp out their respective characters.“
Music OMH
“Alessandro Fisher, the possessor of an exceptionally melliflous lyric tenor.”
Opera
“Alessandro Fisher’s gentle tenor beautifully expressed the hapless, hopeless Don Polidoro’s tender but ardent avowal of love, ‘Sposa cara.’”
Opera Today
Bastien: Bastien und Bastienne / Classical Opera
”Alessandro Fisher was if anything still finer than heard in the recording, his eloquence in ‘Meiner Liebsten schöne Wangen’ (‘My beloved’s lovely cheeks’) a delight.“
Seen and Heard International
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.”
The Guardian
“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…”
Opera
“Alessandro Fisher is a welcome new tenor on the block, smooth and elegant.”
Opera Now
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.”
Musical Criticism
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
Arcas: Dardanus / English Touring Opera
“…Alessandro Fisher, whose lines leapt over the footlights.”
Opera
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.”
Daily Info
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…“
Bachtrack
“Alessandro Fisher in the central role convincingly embodies the nature of a confident, charming rake with lyrical and well-projected singing…”
Classical Source
“Fisher displayed an appealing soft-grained tenor, expressive eyes and comic nous.”
Opera
Banquo: Macbeth (Luke Styles) / Linbury Studio Theatre
“…a soft-toned, engagingly naïve portrayal from Alessandro Fisher…”
Bachtrack
“…notable contributions from (ia) Alessandro Fisher’s forthright Banquo.”
The Guardian
