Christopher Lowrey is now emerging at the front rank of young countertenors in the world on both the opera stage and concert platform.

Christopher sings for a wide range of distinguished companies around the world, including Royal Opera House, Glyndebourne Festival, Academy of Ancient Music, Orchestra of the Age of Enlightenment, English Concert, Opéra Royal de Versailles, La Fenice, Bach Collegium Japan, Boston Baroque, Aix-en-Provence Festival, Göttingen Handel Festival, Ambronay Festival, London Handel Festival, Pinchgut Opera, Cappella Mediterranea, Enescu Festival, Early Opera Company, Grand Théâtre de Geneve, Palau de les Arts Reina Sofia, Royal Scottish National Orchestra, Melbourne Symphony Orchestra, Auckland Philharmonia Orchestra, Orquestra Barroca da Casa da Música, La Nuova Musica, and Voices of Music. He has worked for a variety of conductors including Laurence Cummings, Richard Egarr, Christian Curnyn, Stephen Layton, Masaaki Suzuki, Steven Sloane, Roberto Abbado, Martin Pearlman, Leonardo García-Alarcón, Christopher Moulds, Paul Agnew, David Bates, and Erin Helyard.


“Fluent countertenors seem to grow on trees nowadays, but Lowrey has one of the purest, most evenly beautiful countertenor timbres I have heard, unflawed by hoot, shriek, or strain. Besides being a fine musician and singer, he was a lively theatrical presence, communicating with alert face and mien even to an audience plunged into anachronistic darkness.”

Opera Magazine

This season Christopher sings opera, oratorio, and chamber music in Europe, the United States, and Australia.

Upcoming engagements include a concert performance of Tamerlano (title role) with Les Talens Lyriques for the Ambronay Festival, a staged production of Handel Theodora (Didymus) with Pinchgut Opera in Sydney, Handel Messiah with both the Royal Northern Sinfonia and Bournemouth Symphony Orchestra, solo recitals with Sarasa Chamber Music Ensemble in Boston, Handel Saul (David) for the Adelaide Festival, Bach B Minor Mass with the Queensland Symphony Orchestra, Bach St Matthew Passion for the London Handel Festival, and the world premiere of Brett Dean’s Hamlet (Guildenstern) for Glyndebourne Festival.

His recent roles include Britten A Midsummer Night’s Dream (Oberon) at both the Grand Théâterede Genève and the Palau de les Arts Reina Sofia in Valencia, the title roles in Handel The Choice of Hercules and Solomon with The English Concert at the Britten Theatre in London, Handel Saul (David, cover) for the Glyndebourne Festival, Vivaldi Bajazet (Tamerlano) with Pinchgut Opera in Sydney, Handel Faramondo (Gernando) at the Brisbane Baroque Festival and the Göttingen Handel Festival, Monteverdi Orfeo (Pastore/Speranza) at the Royal Opera House, Monteverdi Il ritorno d’Ulisse in Patria (L’humana fragilità) with Boston Baroque, and the modern premiere of Cavalli Elena (Discordia/Euripilo/Polluce) at the Aix-en-Provence Festival.

Recent concert appearances include Falvetti Il Diluvio Universale (La giustizia divina) and Nabucco (Arioco) with Cappella Mediterranea, Handel Susanna (Joacim) for the Göttingen Handel Festival, solo recitals with Voices of Music in San Francisco, Handel Messiah with Bach Collegium Japan, Handel Saul (David) for the Enescu Festival in Bucharest with the Orchestra of the Age of the Enlightenment, Bach St John Passion with Boston Baroque, Bach B Minor Mass with the Melbourne Symphony Orchestra and St John Passion with the Auckland Philharmonia Orchestra, Handel Israel in Egypt with the Holst Singers at St John’s Smith Square, a concert of Dowland and contemporary composers for the Spitalfields Music Festival with the City of London Sinfonia, Bach Christmas Oratorio at the Cadogan Hall, Handel Messiah with the Royal National Scottish Orchestra, and Handel Il trionfo del tempo e del disinganno with La Nuova Musica.

His recordings include ‘Les Péchés Capitaux’, a disc of Monteverdi opera and madrigals on Ricercar records, a live performance of Vivaldi Bajazet (Tamerlano) on ABC Classics, Handel Faramondo (Gernando) on the Accent label, Monteverdi Il ritorna d’Ulisse in Patria (L’humana fragilità) on Linn Records, Handel and Vivaldi Dixit Dominus on the Harmonia Mundi label, the Bernstein Missa Brevis on Hyperion, and an album of Handel Arias for the EMI Emerging Artists Series.

Originally from the United States, Christopher holds degrees with distinction from Brown University, the University of Cambridge, where he sang with the choir of Trinity College, and the Royal College of Music International Opera School. He is a winner of the Helpmann Awards, the Sullivan Foundation Award, the Metropolitan Opera National Council Auditions, the Michael Oliver Prize at the London Handel Singing Competition, and the Keasbey Award. He has studied with Russell Smythe, Derek Lee Ragin, Ashley Stafford, and Pierre Massé.


17 September 2016

Centre culturel de rencontre, Ambronay, France

Handel Tamerlano


Les Talens Lyriques, Christophe Rousset, cond.

30 November, 1, 3, 4, 6 December 2016

City Recital Hall, Sydney, Australia

Handel Theodora (Didymus)

Pinchgut Opera, Orchestra of the Antipodes, Erin Helyard, cond.

10 December 2016

Sage Gateshead, Gateshead, UK

Handel Messiah

Royal Northern Symphony Ochestra, Reinhard Goebel, cond.

14 December 2016

Lighthouse, Poole, UK

Handel Messiah

Bournemouth Symphony Orchestra, Christian Curnyn, cond.

27-29 January 2017

Boston Area, USA

Various Composers Music Fit for a King (solo recital)

Sarasa Chamber Music Ensemble

3, 5, 7, 9 March 2017

Adelaide, Australia

Handel Saul (David)

Adelaide Festival Orchestra, Erin Helyard, cond.

8 April 2017

Brisbane, Australia

Bach B Minor Mass

Queensland Symphony Orchestra, Stephen Layton, cond.

11 June – 6 July 2017

Glyndebourne, Lewes, UK

Dean Hamlet (Guildenstern)

Glyndebourne Festival Orchestra, Vladimir Jurowski, cond.

Future Performances ↓


Handel Rodelinda (Unulfo)
English National Opera Orchestra, Christian Curnyn cond.

English National Opera, The Coliseum, London, UK


2-11 DECEMBER 2017

Bach BWV 151, 70, and 40 
Ensemble Pygmalion, Raphaël Pichon, cond.

Venues TBA


30 MARCH 2018

Bach St John Passion
Polyphony, Stephen Layton, cond.

St John’s Smith Square, London, UK


Watch & Listen


“Blessed with a voice of pure honey, he gives a world-class performance, unfazed by his character’s numerous arie di furie and tossing off roulades left, right and centre…Don’t miss him, he’s going places.”

Limelight Magazine


Dixit Dominus, Handel/Vivaldi

La Nuova Musica, David Bates cond.

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Il ritorna d’Ulisse in Patria, Monteverdi

Boston Baroque, Martin Pearlman, cond.

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Faramondo, Handel

Festpiele Orchester Gottingen, Laurence Cummings, cond.

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American Polyphony

Polyphony, Stephen Layton, cond.

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More Recordings ↓


Handel | Vivaldi: Dixit Dominus

La Nuova Musica, David Bates cond.


Handel | Vivaldi: Dixit Dominus

La Nuova Musica, David Bates cond.


Handel | Vivaldi: Dixit Dominus

La Nuova Musica, David Bates cond.


Handel | Vivaldi: Dixit Dominus

La Nuova Musica, David Bates cond.


Recent Reviews

Concert: as La giustizia divina in Falvetti Il Diluvio Universale and Arioco in Falvetti Nabucco, Royal Chapel, Château de Versailles, Versailles, France, Leonardo García-Alarcón, cond.

Fort heureusement, les nouveaux venus se distinguent, au premier rang desquels le contre-ténor Christopher Lowrey (Arioco), à juste titre acclamé en fin de représentation.

Fortunately, newcomers are distinguished first and foremost by countertenor Christopher Lowrey (Arioco), justly acclaimed at the end of the concert. Purity of singing and attractive timbre combine with an eloquent dramatic investment.

– ConcertoNet

Toutefois, Nabucco le voit renoncer sagement à la vocalité plus exigeante d’Ariocos, qu’il créa, et passer le flambeau à Christopher Lowrey. Déjà apprécié in loco dans trois rôles de l’ Elena de Cavalli due au même Alarcón, le jeune homme recueille à l’applaudimètre un score en rapport avec ses moyens : considérable. Timbre riche et chaud, legato charmeur, coloratura expressive, précise et souple : voilà des atouts forts. Le Diluvio , où il reprend la difficile Justice Divine, lui permet d’en projeter les décrets avec une cinglante autorité : son entrée Cedi Pietà , et un peu plus loin Tacete su , clouent l’auditeur sur sa chaise. Grande carrière en vue.

However, Nabucco sees him wisely abandon the most demanding vocal role of Arioco, that he created, and pass the torch to Christopher LowreyAlready appreciated in loco in three roles of Elena of Cavalli under the baton of the same Alarcón, the young man collects the applause he deserves: considerable. A rich and warm tone, charming legato, expressive coloratura, precise and flexible: these strong assets. And there are others. The Diluvio , where he took over the difficult role of Divine Justice, allows him to project the decrees with a stinging authority at the entrance Cedi Pietà , and a little later at Tacete su, he nails the listener in his chair. A great career ahead.

– Baroquiades

Saluons le ténor Fernando Guimarães dans le rôle-titre, fermement tenu, et l’excellent Christopher Lowrey (Arioco), contre-ténor de riche couleur dont l’inflexion, à la précision confondante, enveloppe avantageusement l’écoute.

Welcome were the tenor Fernando Guimarães in the title role, firmly sung, and the excellent Christopher Lowrey (Arioco), a rich and colorful countertenor whose inflection and astounding precision enveloped the listener.

– Anaclase

Interprétée dans la Cathédrale de Messine à l’occasion de la prise de fonction du maître de chapelle Falvetti, ce Déluge universel bénéficie d’interprètes aussi virtuoses qu’engagés, à commencer par le Chœur de Namur qui cisèle ses entrées avec maestria dans le A fuggire, a morire ou bien la scène de la Justice Divine (excellent Christopher Lowrey) convoquant les quatre éléments pour débarrasser la Terre de ses importuns humains.

Interpreted in the Cathedral of Messina on the occasion of the inauguration of Falvetti as choirmaster, this Universal Deluge calls for virtuoso performers, beginning with the Choir of Namur who carves its inputs masterfully in the A fuggire a morire or in the role of Divine Justice (the excellent Christopher Lowrey), summoning the four elements to rid the Earth of its human intruders.

– ResMusica

En ambigu Arioco, chef des milices, forcé d’obéir au tyran, Christopher Lowerey déploie son timbre de contre-ténor aérien, assez proche de celui d’un David Daniels, manquant tout autant de graves mais capable d’une belle virtuosité et d’une prononciation plus affutée.

As the ambiguous militia leader Arioco, forced to obey the tyrant, Christopher Lowrey deploys his countertenor timbre, fairly close to that of David Daniels, perhaps not quite as heavy but capable of great virtuosity and a more sharpened pronunciation.

– Forum Opera

Opera: as Oberon in Britten A Midsummer Night’s Dream, Palau de les Arts Reina Sofia, Valencia, Spain, Roberto Abbado, cond.

These were powerful portrayals of the title roles. Christopher Lowrey’s Oberon is clad in androgynous metallic green and teases out the implicit love interest in Puck, heightening the exotic obscurity inherent in the countertenor role. His still presence made the moment Oberon beats the knave doubly sinister, and there was poetry too, with Lowrey carving the “oxlips” and “eglantine” in “I know a bank” sumptuously with a voice that melted into the otherworldly background of harp and celeste.

– Bachtrack

I tre gruppi dei protagonisti hanno linguaggi drammatici spiccati: Oberon e Titania, gli ottimi Christopher Lowrey, astrale controtenore, e Nadine Sierra, regale, sono circondati dalle vere voci bianche dei bambini di una scuola dal nome lunghissimo (Escolania de la Mare de Déu dels Desemparats) preparati da Luis Garrido.

The three groups of protagonists have significantly different dramatic languages: Oberon and Titania, the excellent Christopher Lowrey, astral countertenor, and the regal Nadine Sierra, are surrounded by the true voices of the children of Escolania de la Mare de Deu dels Desemparats, prepared by Luis Garrido.

– Il Sole 24 Hore

Destacadas fueron las intervenciones de la soprano Nadine Sierra (en el papel de Titania, reina de las hadas) y el contratenor Christopher Lowrey (Oberón, rey de los elfos), que estuvo brillante en una tesitura prácticamente desterrada desde la ópera barroca.

Featured were the interventions of soprano Nadine Sierra (in the role of Titania, queen of the fairies) and countertenor Christopher Lowrey (Oberon, king of the elves), who was brilliant in a tessitura virtually banished since the time of baroque opera.

– La Vanguardia

Concert: as Joacim in Handel Susanna, Stadthalle, Göttingen, Germany, Göttingen Handel Festival, Festpiele Orchester Göttingen, Laurence Cummings, cond.

Christopher Lowrey was all vocal energy, keeping Joacim free from priggish virtue by the blazing brilliance of his coloratura, virtuosic embellishments bursting suddenly through his careful crafted phrasing like lightning through cloud.
– The Spectator

Christopher Lowrey was outstanding as Joacim, effortless in his vocal uxoriousness. His air, on hearing news of his wife’s trial, was urgent, driven onwards by the lower strings.

– Bachtrack

Joacim was sung by Christopher Lowrey with a nice clear countertenor, excellent diction and a welcome delicate approach to the text. “On the rapid whirlwind’s wing” was sung with appropriate bounciness and energy The first duet with Susanna and Joacim was sheer delight with lovely blending of the voices, as was the final duet “To my chaste Susanna’s praise”, with rapid runs perfectly executed by both.

– Opera Brittania

Das hat auch der Countertenor Christopher Lowrey geschafft. Vor zwei Jahren war er noch der Feind, jetzt der Ehemann von Emily Fons, allerdings kurzzeitig außer Haus: während seiner Abwesenheit von der Gattin wird diese sexuell belästigt – bleibt aber standhaft. An der Handlung ist Lowrey also nur aus der Ferne beteiligt. Seine emotionale Arien gingen allerdings sehr nahe. Und sie wurden immer halsbrecherischer: am Ende des zweiten Aktes zeigte er in der Arie „On the rapid whirlwind’s wing“, wie er gleich einem Wirbelwind durch die Koloraturen jagt. Das allerdings mit einer Leichtigkeit, die einem den Atem stocken lässt.

The countertenor Christopher Lowrey managed the same. Two years ago, he was the enemy, now the husband of Emily Fons, however briefly away from home: during his absence from his wife, she is sexually assaulted – but remains steadfast. Lowrey is thus involved in the action only from a distance. But his emotional arias were very present. And they were always breakneck: at the end of the second act, in “On the rapid whirlwind’s wing” he demonstrated the chasing whirlwind through the coloratura. That was done, however, with an ease that takes one’s breath away.
– Kulturbüro Göttingen

Fons sounds more like the perfect lyric soprano than another advertised mezzo, but what matter? She and Lowrey, a counter-tenor with muscle as well as musicality, spurred each other on to heights of eloquence.
– The Arts Desk

Als Joacim während einer Geschäftsreise erfährt dass seine Frau Susanna als Ehebrecherin zum Tode verurteilt ist, steigt ihm das Adrenalin zu Kopf. Zu rasenden läufen der Violinen überschlägt er sich in Koloraturen: “Wie der rasche Wind beschwingt, flieg ich hin in schnellem Lauf.” Die furiose Arie aus Handels Oratorium Susanna geriet durch die überragende Leistung von Christopher Lowrey am Donnerstag zum Auftakt der Göttinger Händel-Festpiele in der so gut der ausverkauften Stadthalle zu einem Höhepunkt. Perfekt artikuliert und dynamisch flexibel gestaltete der Countertenor den Part des verliebten Ehemanns, dessen Frau während seiner Abwesenheit von zwei Lustgreisen beim Baden beobachtet fast vergewaltigt und denn einem Schauprozess ausgeliefert wird.

Away on a business trip, Joacim learns that his wife Susanna is condemned as an adulteress to death, and the adrenaline rushes to his head. To frenzied runs of the violins he overturns in coloratura: “On the rapid whirwind’s wing, see I fly to seek the fair”. The furious aria from the oratorio Susanna was given a superior performance by Christopher Lowrey on Thursday to kick off the Göttingen Handel Festival; in the sold-out Stadthalle. Perfectly articulated and dynamically flexible, the countertenor part is that of the amorous husband whose wife is almost raped during his absence by two old men observing her while bathing and is later subjected to a show trial.
– Hofgeismarer Allegemeine

Christopher Lowrey gave an equally effective portrayal of her steadfast husband, Joacim.
– Opera con brio

More Reviews ↓

Opera: as Oberon in Britten A Midsummer Night’s Dream, Grand Théâtre de Genève

Le contre-ténor Christopher Lowrey comme l’exquise Bernarda Bobro distillent les sortilèges d’Oberon et Tytania avec ce qu’il faut de bouffonnerie et d’élégance unies.

The countertenor Christopher Lowrey was an exquisite Oberon, who along with his Tytania Bernarda Bobro cast spells that mix buffoonery with elegance.

Diapason Magazine

Ailleurs, du côté féérique, les voix de Christopher Lowrey (contre-tenor aux nuances exquises, en Oberon) et de Bernarda Bobro (Tytania), tout comme celles de la Maîtrise du Conservatoire populaire de Genève, ont peint un paysage subtil et merveilleux.

Moreover, in the fairy world, the voices of Christopher Lowrey (a countertenor of exquisite nuances as Oberon) and Bernarda Bobro (Tytania), as well as those of the choir of the Popular Conservatory of Geneva, painted a subtle and wonderful landscape.

– Tribune de Genève

Le chœur des fées est bien assuré par la Maîtrise du Conservatoire populaire de Musique de Genève, tandis que le contre-ténor Christopher Lowrey compose un Oberon des plus attachants, aux élans magiques.

The chorus of fairies is provided by the children of the Popular Conservatory of Music in Geneva, while the countertenor Christopher Lowrey Oberon creates engaging, magical impulses.

– Anaclase

Obéron, roi des Elfes, interprété par Christopher Lowrey offre son beau timbre argenté et homogène de contre-ténor aux lignes inquiétantes de cet être froid.

Oberon, King of the Elves, played by Christopher Lowrey, offers his beautiful silver and homogeneous countertenor to the disturbing lines of this cold being.

– Bachtrack

Das ist mit den Knaben- bzw. Kinderstimmen der Elfen zu den ätherisch irisierenden, aber auch eisigen Klängen von Celesta ein wunderbarer Effekt; zumal mit Christopher Lowrey ein hervorragender Altus mit großartiger Bühnenpräsenz ein selbstverliebt blasiertes androgynes Wesen mit Glatze gibt, das sich am erotischen Verwirrspiel mit beiden jungen Paaren ergötzt, und Bernarda Bobro eine nicht minder strahlend in Stratosphären singende, sinnliche Elfenkönigin.

The children’s voices of the elves conjure the ethereal and iridescent, but also the icy sounds of the celeste are a wonderful effect, and especially with the outstanding countertenor Christopher Lowrey who with great stage presence portrays a narcissistic, haughty, androgynously bald creature, who delights in sowing erotic confusion between the two young couples, and in Bernarda Bobro, who is equally radiant in stratospheric singing, evoking a sensual elfin queen.

– KlassikInfo

Du côté du monde féerique, le contre-ténor Christopher Lowrey est un Oberon lumineux, face auquel scintille la voix cristalline de Bernarda Bobro (Tytania).

In the fairy world, the countertenor Christopher Lowrey is a bright Oberon, who sparkles against the crystal clear voice of Bernarda Bobro (Tytania).

– Le Courrier

Christopher Lowrey überzeugt als Oberon. Der Countertenor mit nuancenreichem, geschmeidigem Gesang vermochte zu betören und die schwierigen Phrasen wahrhaft zum Tragen bringen.

Christopher Lowrey convinced as Oberon. A countertenor rich in nuances, his effortless vocalism was able to entice and bring the difficult phrases to bear.

– Der neue merker

On signalera notamment l’Oberon de Christopher Lowrey à la voix étonnamment charnue pour un contre-ténor.

Of particular note was the Oberon of Christopher Lowrey with a surprisingly meaty voice for a countertenor.


Quienes me seguís ya sabéis que los contratenores no son precisamente mi pasión. Pues bien, he de decir que el Oberon de Christopher Lowrey me pareció magnífico. Su fraseo fue elegantísimo, ligado, rico en matices, permitiéndose alguna regulación exquisita, y obsequiándonos con un I know a bank de lujo, donde demostró conocer y dominar también al maestro Purcell.  

Those who follow me already know that countertenors are not exactly my passion. But, I’m happy to say that I thought the Oberon of Christopher Lowrey was superb. His phrasing was very elegant, connected, rich in nuances, allowing some exquisite regulations, and presenting us with a luxurious I know a bank, where he made clear Britten’s Purcellian musical details.

– Atticus Blog

Le contre-ténor Christopher Lowrey est un Oberon de noble stature.

The countertenor Christopher Lowrey is an Oberon of noble stature.

La Croix

Opera: as Gernando in Handel Faramondo, Conservatorium Theatre, Brisbane, Australia, Brisbane Baroque, Orchestra of the Antipodes, Erin Helyard, cond.

The gold star for sheer entertainment, however, must go to Christopher Lowrey as the villainous Gernando – King of the Swabians and lusting after Rosimonda something rotten. Dolled up in furs and lippy, he struts the stage with his leather-clad gipsy banditos and a couple of skanky looking ‘bitches’ while never missing an opportunity to take a sniff of the various pairs of tights and panties that somehow always seem to end up in his pocket. He’s a lovely actor, but the voice is to die for as well, packed with enough character to sink a battleship (Voglio che mora was a histrionic showstopper). Extracting every drop of malice as he hacks his way through the supernumeraries, he is also able to carry off radiant arias like Act III’s Così suole a rio vicina.
– Limelight Magazine

Lowrey’s richly realized despot was hugely entertaining – the American countertenor attacked his arias with virtuosic flexibility and was a dangerous presence.

– Opera

Countertenor Christopher Lowrey as Gernando was exceptional and suitably sleazy when he needed to be. His sweet honeyed dulcet and mellow toned voice with its lyrical excellence was silky and seductive and completely captivating – glorious to listen to and a pleasure to behold, at many points he held us all in the palm of his hand. There was one aria of his that completely took everyone apart it was so sublime, reaching realms rarely entered with such engagement.
– The Culture Concept

Christopher Lowrey simply shone in the role of Gernando, the Swabian leader portrayed as an androgynous-looking, long-haired goth, whose violent leadership and scrumptiously humorous panty fetish completely matched his colourful countertenor. Lowrey’s focused performance, vocal fusion with the orchestra and perfectly controlled legato elicited superbly elegant shading throughout and he clearly revelled in the chance to go for the audience’s jugular with remarkable power in an Act III aria as he sniffs, then masks himself in pantyhose.
– OperaChaser

Christopher Lowrey’s grimacing portrayal of Gernando was acutely effective with a female countenance, macho male outfit coupled with a counter-tenor vocalise similar to a machine gun in full flood.

– Stage Whispers

Countertenor Christopher Lowrey plays Gernando, the foppish, narcissistic King of the Swabians, to perfection.
– The Courier-Mail

Both countertenors (Tai Oney and Christopher Lowrey) were challenged by extraordinarily beautiful and complex music, and both were breathtakingly dextrous, melodic, and subtle.
– Weekend Notes

Recording: Bernstein Missa Brevis on American Choral Works, Polyphony, Stephen Layton, cond.

A Missa Brevis by Leonard Bernstein is far from the composer’s very theatrical Mass of 1971. Reworked in 1988 from discarded incidental music, this comparatively modest score still allows for a blaze of pealing chimes from percussionist Robert Millett in its Gloria as well as poignant solos from countertenor Christopher Lowrey.
– New Zealand Herald

Bernstein’s acerbic Missa brevis benefits from fine solo work from countertenors David Allsopp and Christopher Lowrey.
– The Guardian

Recording: as L’Humana Fragilità in Monteverdi Il Ritorna d’Ulisse in Patria, Boston Baroque, Martin Pearlman, cond.

The strength of this issue is in its strong, youthful cast. The Penelope of Jennifer Rivera almost shakes my allegiance to Jacob’s Bernarda Fink, with a limpid low mezzo of comparable beauty and expressive power, while Fernando Guimaraes’s Ulysses is heartbreaking in the moving recognition scene with Aaron Sheehan’s boyish Telemachus and Daniel Auchincloss’s devoted Eumaes. Leah Wool (Minerva), Marc Molomot (Irus), Krista River (Eurycleia), Abigail Nims (Melantho) and Christopher Lowrey (Human Frailty) all make outstanding contributions.
– The Sunday Times

First encountered as L’humana fragilità, Il tempo, La fortuna, and Amore in the opera’s Prologue, countertenor Christopher Lowrey, bass João Fernandes, and sopranos Sonja DuToit Tengblad and Sara Heaton launch the performance with attractive, mostly stylish singing. Lowrey’s ‘Mortal cosa son io, fattura humana’ is phrased with real distinction, and his lovely timbre and confident manner are evident when he returns later in the opera as a Phoneacian sailor and a member of the Coro marittimo.
– Voix des Arts

Jennifer Rivera (Penelope) and Fernando Guimaraes (Ulisse) both give fine performances in their emotionally wrought roles. Other key singers include Aaron Sheehan (Telemaco), Leah Wool (Minerva), João Fernandes (Il tempo & Nettuno), Marc Molomot (Iro), Krista River (Ericlea), Abigail Nims (Melanto), Daniel Auchincloss (Eumete) and Christopher Lowrey (L’Humana Fragilità).
– Andrew Benson Wilson Early Music Reviews

Concert: Bach St John Passion, Jordan Hall, Boston, MA, USA, Boston Baroque, Martin Pearlman, cond.

Countertenor Christopher Lowrey sang his arias with silky voice. His most affecting singing came in “Es ist vollbracht,” where his dolorous phrases meshed with Beiliang Zhu’s silvery line on the viola da gamba.
– Boston Classical Review

Countertenor Christopher Lowrey was…commanding in the climactic aria, “Es ist vollbracht”
– The Boston Globe

Opera: as Third Pastor/Hope in Monteverdi’s L’Orfeo, Royal Opera House, Orchestra of the Early Opera Company, Christopher Moulds, cond.

In fact, some of the most direct and engaging singing comes courtesy of a trio of priests (updated from the original’s shepherds), most notably American countertenor Christopher Lowrey.
– Time Out London

Perhaps the most enjoyable voice of the evening belonged to countertenor Christopher Lowrey, who seemed to escape the shackles.
– Russell Plows’ Opera Blog

The American countertenor Christopher Lowrey made his ROH debut as one of the three shepherds, producing a generously full sound and impressing in his Act III aria.
– Harper’s Bazaar

Boyd’s court is looked over by ‘pastors’ not shepherds, who are dressed like intimidating priests, except for fresh-faced American countertenor Christopher Lowrey, whose stunning and silky voice drove out the ominous quality.
– Trend FEM

Vocally this production is a real treat…Countertenor Christopher Lowrey shines alongside fellow tenor pastor Anthony Gregory.
– British Theatre Guide

The third member of the trio, the countertenor, Christopher Lowrey also made a valuable and characterful contribution to proceedings.
– Opera Britannia

Tenors Anthony Gregory and Alexander Sprague blend beautifully with Christopher Lowrey’s warm, appealing countertenor, and all three Pastors communicate the drama powerfully.
– Opera Today

Musically, the strongest support comes from the trio of pastors, (Anthony Gregory, Alexander Sprague, and Christopher Lowrey) who make the most of some of Monteverdi’s finest vocal writing.
– The Spectator

Anthony Gregory and Alexander Sprague, both tenors, and countertenor Christopher Lowrey were excellent as the Pastors.
– Classical Voice America

We get superb singing from tenor Anthony Gregory, baritone Alexander Sprague, and countertenor Christopher Lowrey as the three Pastors.
– The Independent

Other promising singers making their ROH debuts included Anthony Gregory, Alexander Sprague and Christopher Lowrey as the pastors.
– BBC Music Magazine Blog

Particularly impressive were the three Pastors – tenors Anthony Gregory and Alexander Sprague, and countertenor Christopher Lowrey.

– The Mere Listener

And the singing was consistently excellent, with especially fine performances from Gyula Orendt (Orpheus), James Platt (Charon), and countertenor Christopher Lowrey (doubling as one of the pastors and the allegorical figure of Hope).

– Music at Southampton

There are expressive cameos from Bickley, tenor Alexander Sprague and countertenor Christopher Lowrey.
– The Arts Desk

Fine singing from pastori Anthony Gregory, Alexander Sprague, and Christopher Lowrey
– Mark Ronan Theatre Reviews


Please direct all enquires to:

Lucie Davienne, Hazard Chase

For anything else

Contact Christopher directly:

Photography by:

Rebecca Fay