About

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, Opéra Royal de Versailles, La Fenice, Bach Collegium Japan, Boston Baroque, Aix-en-Provence Festival, Grand Théâter de Geneve, Palau de les Arts Reina Sofia Valencia, Royal Scottish National Orchestra, Melbourne Symphony Orchestra, Göttingen Handel Festival, Ambronay Festival, Cappella Mediterranea, Auckland Philharmonia Orchestra, Orquestra Barroca da Casa da Música, London Handel Festival, Early Opera Company, La Nuova Musica, Sablé-sur-Sarthe Festival, Brisbane Baroque, Pinchgut Opera, and Voices of Music. He has worked for a variety of conductors including Laurence Cummings, Richard Egarr, Christian Curnyn, Stephen Layton, Masaaki Suzuki, 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 in Ambronay, Handel Theodora (Didymus) with Pinchgut Opera in Sydney, Handel Messiah with both the Royal Northern Sinfonia and Bournemouth Symphony Orchestra, solo recitals with Sarasa Ensemble in Boston, Handel Saul (David) for the Adelaide Festival, Bach St John Passion with the Queensland Symphony Orchestra in Brisbane, and the world premiere of Brett Dean’s Hamlet (Guildenstern) for Glyndebourne Festival.

His recent roles include Handel Susanna (Joacim) for the Göttingen Handel Festival, Britten A Midsummer Night’s Dream (Oberon) at both the Grand Théâter de 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 Festial, Monteverdi Orfeo (Pastore/Speranza) at the Royal Opera House in London, Gernando in Handel Faramondo at the Göttingen Festival, L’humana fragilità in Monteverdi Il ritorno d’Ulisse in Patria with Boston Baroque, and Discordia/Euripilo/Polluce in the modern premiere of Cavalli’s Elena at the Aix-en-Provence Festival.

Recent concert appearances include Falvetti Il Diluvio Universale (La giustizia divina) and Nabucco (Arioco) with Cappella Mediterranea, 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.

Schedule

17th September 2016

Centre culturel de rencontre, Ambronay, France

8:30PM

Handel Tamerlano (Tamerlano)

Les Talens Lyriques, Christophe Rousset, cond.

30th November – 5th December 2016

City Recital Hall, Sydney, Australia

7PM

Handel Theodora Didymus

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

Future Performances ↓

30TH NOVEMBER – 5TH DECEMBER 2016

City Recital Hall, Sydney, Australia, 7pm

Handel Theodora Didymus
Pinchgut Opera, Orchestra of the Antipodes, Erin Helyard, cond.

MORE INFO

30TH NOVEMBER – 5TH DECEMBER 2016

City Recital Hall, Sydney, Australia, 7pm

Handel Theodora Didymus
Pinchgut Opera, Orchestra of the Antipodes, Erin Helyard, cond.

MORE INFO

30TH NOVEMBER – 5TH DECEMBER 2016

City Recital Hall, Sydney, Australia, 7pm

Handel Theodora Didymus
Pinchgut Opera, Orchestra of the Antipodes, Erin Helyard, cond.

MORE INFO

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

Recordings

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 ↓

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Handel | Vivaldi: Dixit Dominus

La Nuova Musica, David Bates cond.

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Handel | Vivaldi: Dixit Dominus

La Nuova Musica, David Bates cond.

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Handel | Vivaldi: Dixit Dominus

La Nuova Musica, David Bates cond.

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Handel | Vivaldi: Dixit Dominus

La Nuova Musica, David Bates cond.

Press

Recent Reviews

Opera: as Tamerlano in Vivaldi Bajazet, Conservatorium Theatre, Sydney, Australia, Pinchgut Opera, Orchestra of the Antipodes, Erin Helyard, cond.

Complementing the orchestral gold is a terrific cast headed by American countertenor Christopher Lowrey (who so impressed as the panty-sniffing villain in Faramondo at this year’s Brisbane Baroque) as a capricious and dangerous Tamerlano. 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. A powerful, even voice across a good range, he is never overwhelmed by Vivaldi’s frequently busy orchestrations (his second joyous aria when he thinks he’s onto a good thing with Asteria is a stunner and sees Helyard enhancing the joie de vivre with his own wild leaps in the pit!), and he’s a good actor to boot. He returns to the company next year in Handel’s sublime Theodora – don’t miss him – he’s going places.

– Limelight Magazine

American countertenor Christopher Lowrey’s Tamerlano is at the centre of this production and is given a gloriously hedonistic energy, destroying whatever wanders into his path. There’s a predatory physicality to his performance, which he matches with a commanding vocal performance, summoning power, fury and a surprisingly authoritative sound with just a little bit of grunt to boot. Like all the singers onstage, he deftly negotiates Vivaldi’s difficult, fast runs and cadenzas.
– Daily Review

American countertenor Christopher Lowrey was spectacular as Tamerlano. Secure and assured across his mellow, subtly coloured tessitura, he effortlessly executed both rapid-fire pyrotechnics and sinuous longer lines.
– The Australian

And then there’s Tamerlano. American countertenor Christopher Lowrey is the ultimate multitasker, revelling in the lewd virtuosity of his character and vigorously pursuing his onstage duties. It’s a horribly fine performance.

– Sydney Morning Herald

Christopher Lowrey as Tamerlane (1336-1405) Emperor of the Uzbek Turks, who demanded the hand in marriage of Bajazet’s daughter Asteria, was a cocky, proud and compelling presence with his dynamic countertenor voice and a wonderful swagger like Jack Spratt. In the past few years I have heard some truly wonderful countertenor voices and I must say I can understand why our eighteenth century counterparts enjoyed its angelic qualities. Lowrey certainly has it in spades, a voice made in heaven.
– The Culture Concept

As Tamerlano, Christopher Lowrey strutted about with pride in his evil deeds amongst showcases of skulls and plunders of war, making his lustful advances and sly looks a seemingly harmless attribute. With a smooth vocal line and a command of riveting rapid passages Lowrey’s vivid and flexible countertenor suitably expressed the power of Tamerlano’s position.
– Bachtrack

Tamerlano is presented in a superb, skin-crawling characterisation by Christopher Lowrey. Lowrey also triumphs on stage with the fluidity of his well-phrased countertenor voice. Recitative detail alone shimmers effortlessly, well synchronised with stage movements. His furious Act Three aria towards Asteria, ‘Barbaro traditor’ soars exquisitely above the clear accompaniment. Like all cast members in this spectacle, Lowrey exploits for our enjoyment the extremities of emotion as written by Vivaldi and his contemporaries.
– Sydney Arts Guide

The role of Tamerlano was taken by American countertenor Christopher Lowrey, seen last year in the fun role of Gernando in Faramondo at Göttingen (and subsequently Brisbane). He seemed to relish the part of tyrannical haughty conqueror just as much, and sang with good open rounded tone and energy.
– Opera Britannia

Conqueror of the world, the megalomaniac mass murderer Tamerlano, was energetically played by Christopher Lowrey. He was in fabulous voice, sinister yet fascinating.
– Artshub

Lowrey is full of horny petulance and braggadocio as Tamerlano.
– Australian Stage

Christopher Lowrey, an American countertenor, sings the villain of the piece, Tamerlano, with emotional and sexual physical swagger.
– Kevin Jackson’s Theatre Diary

More Reviews ↓

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

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

Contact

Please direct all enquires to:

Lucie Davienne, Hazard Chase

For anything else

Contact Christopher directly:

Photography by:

Rebecca Fay