“Charismatic …”
— Jessica Werb, The Georgia Straight (Vancouver)

Reviews

As Escamillo in Carmen with Toledo Opera and Opera Carolina, Jan/Feb 2019

“The virile Toreador Escamillio, bass/baritone Alex Lawrence, has dashing looks and suave moves believable enough to serve as force to draw Carmen from Don José. He delivers a robust performance.”
– Wayne Anthony, The Toledo Blade

As Danilo in The Merry Widow with Opera Saratoga, June/July 2018

“Baritone Alex Lawrence as Count Danilo was a restrained and dignified figure who sang with elegance and allure. The final love duet between Lopez and Lawrence was meltingly beautiful.”
– Joseph Dalton, Albany Times Union (Read the Article)

“Alex Lawrence as Danilo also adds to the vocal richness of the evening.   His powerful baritone adds a sense of longing to his situation and a hard-headed stubbornness to his behavior.”
– Bob Goepfert, WAMC Radio (Read the Article)

“The operetta’s principal couple provides the greatest and most welcome grounding of emotional subtlety, with elegant baritone Alex Lawrence striking just the right register of sonorous leading-man bravado as Count Danilovitsch…”
– Charles Geyer, La Scena Musicale

“Soprano Cecilia Violetta Lopez as the widow — glamorous in black brocade, showed a big, lush range as did her suitor, baritone Alex Lawrence, whose vocal line was elegant and smooth.”
– Geraldine Freedman, The Daily Gazette

As Figaro in Le nozze di Figaro with Vancouver Opera, April 2017

“All of the vocal performances were outstanding, but I particularly loved Lawrence’s Figaro…”
– Cathy Browne, My Van City, May 2, 2017 (Read the Article)

“Alex Lawrence, an amiable Figaro, sang well with a pleasing baritone …”
– Harvey DeRoo, Vancouver Classical Music

Martinu, Juliette, Opernhaus Zurich, 2015

“Alex Lawrence ist ebenso grossartig als Mann mit Helm, Verkäufer von Erinnerungen und Blinder Bettler”
– Für oper-aktuell: Kaspar Sannemann, den 14. Februar 2015 Gelesen: 346

“Im Ensemble gibt es immerhin manch ansprechende Leistung – zum Beispiel bei Alex Lawrence als Mann mit dem Hut (und in anderen Partien), bei Martin Zysset, der den Beamten im Traumbüro mit glänzendem Tenor versieht, oder bei Irène Friedli als alter Dame.”
– NZZ,16.02.15, Peter Hagmann

As Il Cavaliere in Verdi’s Un Giorno di Regno with Glimmerglass Opera, July 2013

“The cast embraced the undertaking, every role conveyed with pizazz. Alex Lawrence, a young baritone, was sensational as the rascally Belfiore, the decoy king of the title.”
— Steve Smith, NY Times, July 22, 2013 (Read the Article)

“Belfiore the impostor King was sung with gusto by Glimmerglass Young Artist Alex Lawrence. He was a wonderful match for Ms. Costa-Jackson’s comedic talents, and the two seemed to have a delightful chemistry together. His singing is rich and pleasing.”
Taminophile.com, July 27, 2013 (Read Article)

“Alex Lawrence as Belfiore (the impostor king) sported a sturdy, forthcoming baritone with a warm presence that was as handsome as his appearance. His easy demeanor and animated antics enlivened every scene he was in.”
— James Sohre, Opera Today, August 13, 2013 (Read Article)

“There is something John Cleese-y about the tall and limber-jointed Alex Lawrence who plays the rakish stand-in king Belfiore, who tries to escape detection from the Baron’s household and particularly by the Marchesa whom he’d once thrown over. Lawrence and Costa-Jackson were a sensational theatrical duo.”
— Susan Galbraith, DC Theater Scene, July 31, 2013 (Read Article)

“The ‘king’, who has been asked by the real King of Poland to pretend to be him for reasons that don’t concern us, is Belfiore, played with great brio by Alex Lawrence.”
— Michael Johnson, concertonet.com (Read Article)

“Lawrence convinced as the preening Belfiore, pretending to be a Polish king for plot reasons that remain unclear. His strong, elegant voice, and his confident bearing should serve him well in the aristocratic roles such as the title role in Tchaikovsky’s Eugene Onegin.”
— Harlow Robinson, The Boston Globe, August 8, 2013 (Read Article)

As Sam in Bernstein’s Trouble in Tahiti with Opernhaus Zurich, September 2012

“Alex Lawrence sings and plays with a distinctive baritone the winner-type Sam with a mixture of Tarzan and All American Boy flair. His portrait seems so in love with himself – caricatured just as the black and white comic stage from Jörg Zilenski requires.”
“Alex Lawrence singt und spielt mit markant tragendem Bariton den Sieger-typen Sam als Mischung aus Tarzan und All American Boy. Dessen Porträt wirkt so selbstverliebt-karikiert, wie es das schwarzweisse Comic-Bühnenbild von Jörg Zilenski geradezu erfordert.”
Zurich Tages-Anzeiger

“Julia Riley is as housewife Dinah the perfect role model, and Alex Lawrence is a Sam, the man you just love to have. Vocally, the pair is styled, and their light and sweet songs are the musical highlights.”
— Thomas Schacher, Neue Zürcher Zeitung, September 24, 2012, Link to Article (in German)

“Her husband Sam is Alex Lawrence, created also consistently with the charm and the swagger of the All American Boy. His warm baritone timbre thrilled.”
“Ihr Gatte Sam wird von Alex Lawrence mit dem Charme und dem Gehabe des All American Boy ebenso stimmig gestaltet. Sein warm timbrierter Bariton begeistert.”
Oper Aktuell, Link to article (in German):

In Bizet’s Carmen with Theater Basel, December 2011

“Vocally, Alex Lawrence as Morales makes us listen attentively in the opening sequence”
“Alex Lawrence lässt in der Eröffnungsszene als Moralès stimmlich aufhorchen.”
— Kaspar Sannemann, oper-aktuell.info, 19. Dec 2011,

In Manuel De Falla’s La Vida Breve with Theater Basel, March 2012

“The baritone Alex Lawrence, who employs excellently the vocal timbre of the Flamenco with a Spanish feel, sings to the bridal pair and cheers at them.”

“Der Bariton Alex Lawrence, der als El Cantaor vortrefflich mit angerautem Timbre das Flamencogefühl und das spanische Kolorit trifft, singt für das Brautpaar und feuert es an.”
— Roswitha Frey, Badische Zeitung, 20 Feb. 2012

In Debussy’s La Chute de La Maison Usher with Basel Sinfonietta June 2012

“Alex Lawrence acted with a powerful vocal presence as Roderick’s Friend…”

“Mit kraftvoller Stimmpräsenz agieren Alex Lawrence als Rodericks Freund…”
— Roswitha Frey, Badische Zeitung, 13. June 2012

Swiss TV Feature

In the Theater Basel New Years Concert under Maestro Axel Korber, Performing excerpts from the role of Danilo in Lehar’s The Merry Widow

“There, Count Danilo boasted of his dubious acquaintances in the ‘Maxim’ (Excellent: Alex Lawrence from the Opera Studio, also known as Moralès in Carmen, impressed)…”
Basler Zeitung (BAZ online), Basel, CH

As El Dancairo in Carmen with the Glimmerglass Festival

“The breathless smugglers’ quintet was made all the more enjoyable by the addition of Alex Lawrence’s virile baritone…”
OperaToday.com

“The troupe of smugglers…are a group of excellent singers. Lawrence demands your attention while on stage.”
—OperaPulse.com

“The two smugglers El Dancaïro and El Remendado, played by baritone Alex Lawrence and tenor Juan José De León, added some good comic elements…and their ensemble with Carmen, which is beastly difficult to sing and articulate, was excellent.”
—Jane Dieckmann, Ithaca.com

As Don Giovanni in Don Giovanni with the Academy of Vocal Arts

“Alex Lawrence appears in the title role, portraying the dashing Don with swagger and vocal assurance…Lawrence has a noble instrument, and I can see Don Giovanni becoming a signature role for the tall, handsome baritone.”
—Kimberly Roberts, Philadelphia Tribune

“Alex Lawrence headed the opening—night cast as a dashing, velvet—voice Giovanni…”
—David Patrick Stearns, Philadelphia Inquirer

As Mandryka in Strauss’ Arabella with AVA

“Alex Lawrence presented a tall, dark and handsome Mandryka and handled well the part’s fiendishly difficult vocal demands.”
—Steve Cohen, Broad Street Review

In AVA’s Russian Romances , 2011

“Baritone Alex Lawrence, who got raves as the dastardly doctor in “The Scarlet Letter” last month, was equally strong with the heartfelt power on Trembling Tears”
CultureVulture.net

As Roger Chillingworth in the world premiere of Garwood’s The Scarlet Letter with AVA

“Alex Lawrence was convincing as the bitter husband, Chillingworth, who arrives in Boston and embarks on a mission to find and destroy Hester’s lover.”
—Steve Cohen, Broad Street Review

“A stoop disguised the baritone’s tall frame…the voice and the acting were menacing…you could tell he enjoyed this part.”
—Lesley Valdes, WRTI Radio, Philadelphia

As The Count in Strauss’ Capriccio with AVA

“Alex Lawrence made a capital Count. His firm—toned baritone and vivid stage presence insured the Count had a strong musical and dramatic presence in every scene.”
—Robert Baxter, Concertonet.com

“A perfect foil is her brother Alex Lawrence, the Count, whose basso clips off their fast repartee with an infectiously playful familial chemistry.”
—Lewis Whittington, CUltureventure.net

As Conte di Luna In Verdi’s Il Trovatore , Act IV with AVA:

“Alex Lawrence (Conte di Luna)…sang with vocal polish in the long duet with Leonora.”
—Robert Baxter, Concertonet.com

At the White Church benefit concert with Eve Queler in Blandford, MA

“And the young baritone, Alex Lawrence, brought great dramatic flair and beautiful color to the aria ‘O Carlo, ascolta’ from Don Carlos by Verdi.”
—Marcia Eckert