About

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

Christopher sings with a wide range of distinguished companies around the world, including Royal Opera House, Glyndebourne Festival, BBC Proms, London Philharmonic Orchestra, Academy of Ancient Music, Orchestra of the Age of Enlightenment, English Concert, Early Opera Company, La Nuova Musica, London Handel Festival, Aix-en-Provence Festival, Opéra Royal de Versailles, Ambronay Festival, La Fenice, Cappella Mediterranea, Göttingen Handel Festival, Bach Collegium Japan, Boston Baroque, Pinchgut Opera, Adelaide Festival, Grand Théâtre de Geneve, Palau de les Arts Reina Sofia, Melbourne Symphony Orchestra, and Voices of Music. He has worked with a variety of conductors including William Christie, Vladimir Jurowski, Christophe Rousset, Laurence Cummings, Richard Egarr, Christian Curnyn, Stephen Layton, Masaaki Suzuki, Erin Helyard, David Bates, Roberto Abbado, Leonardo García-Alarcón, and Martin Pearlman.

“”

“Here surely is the emerging countertenor of the decade, with beautiful, seemingly effortless sound devoid of any trace of covering or hootiness.”

Bachtrack

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

Upcoming engagements include Christopher’s English National Opera debut in both Handel Rodelinda (Unulfo) and Muhly Marnie (Terry, cover), Handel Messiah with Clare College Choir at Union Chapel London, Bach Cantatas at the Philharmonie de Paris with Ensemble Pygmalion, Handel Orlando (Medoro) with La Nuova Musica at St John’s Smith Square London, Dean Hamlet (Guildenstern) for the Adelaide Festival, Bach B Minor Mass at Winchester College, Handel Il trionfo del tempo e del disinganno (Disinganno) for the London Handel Festival, a return to the Göttingen International Handel Festival, Handel Rinaldo (Argante) with Kammerorchester Basel at Théâtre des Champs-Élysées in Paris, the Halle Handel Festival, and St Martinskirche in Basel, and a concert tour of Pergolesi Stabat Mater with soprano Sandrine Piau and Les Talens Lyriques.

His recent roles include Dean Hamlet (Guildenstern) for Glyndebourrne Festival, Handel Saul (David) for the Adelaide Festival, Handel Theodora (Didymus) with Pinchgut Opera, Britten A Midsummer Night’s Dream (Oberon) at both the Grand Théâtre 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 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 Handel Israel in Egypt at the BBC Proms with the Orchestra of the Age of Enlightenment conducted by William Christie, Handel Tamerlano (title role) with Les Talens Lyriques for Ambronay Festival, Bach B Minor Mass with the Queensland Symphony Orchestra, Bach St Matthew Passion for the London Handel Festival, Handel Messiah with both the Royal Northern Sinfonia and Bournemouth Symphony Orchestra, 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 and Sarasa Chamber Music Ensemble in Boston, 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, and Handel Il trionfo del tempo e del disinganno with La Nuova Musica.

His recordings include i 7 Peccati Capitali, a disc of Monteverdi opera and madrigals on Ricercar records, a live performance of Handel Susanna (Joacim) on the Accent label, 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.

Christopher is also active as a conductor and performer in smaller semi-professional consort ensembles, specialising in Renaissance choral music. He has conducted for Ensemble Altera, Cambridge Clerkes, Ensemble Aeterna, and passio. Recent concerts that he has organised and conducted include a concert of Tudor choral music for male voices, a fundraising concert in London based around settings of the Requiem mass, a church service of English sacred music for the Festival d’Aix-en-Provence, a program of music from the Eton Choirbook, and composer-focused concerts on William Byrd, John Taverner, and Thomas Tallis, and appearances on concert series in his native Providence and Newport, Rhode Island.

Originally from the United States, Christopher holds degrees with distinction from Brown University, the University of Cambridge, where he was a choral scholar with the choir of Trinity College under Stephen Layton, 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

26 October; 1, 3, 9, 11, 15 November 2017

English National Opera, London Coliseum, UK

Handel Rodelinda

(Unulfo)

English National Opera Orchestra, Christian Curnyn, cond.

18, 26, 28 November; 1, 3, December 2017

English National Opera, London Coliseum, UK

Muhly Marnie (Terry, cover)

English National Opera Orchestra, Martyn Brabbins, cond.

4 December 2017

Union Chapel, Islington, London, UK

Handel Messiah

The Choir of Clare College, Cambridge and the Orchestra of the Age of Enlightenment, Graham Ross, cond.

11 December 2017

Salle des concerts – Cité de la musique, Philharmonie de Paris, France

Bach Cantatas 70, 151, & 140

Ensemble Pygmalion, Raphaël Pichon, cond.

1 February 2018

St John’s Smith Square, London, UK

Handel Orlando (Medoro)

La Nuova Musica, David Bates, cond.

2, 4, 6 March 2018

Adelaide Festival, Australia

Dean Hamlet (Guildenstern)

Adelaide Festival Orchestra, Nicholas Carter, cond.

18 March 2018

Winchester College, UK

Bach B Minor Mass

Conducted by Malcolm Archer

16 April 2018

St George’s Hanover Square, London, UK

Handel Il Trionfo del tempo e del disinganno (Disinganno)

London Handel Festival Orchestra, Laurence Cummings, cond.

10-21 May 2018 – performances TBA

International Handel Festival, Göttingen, Germany

Handel TBA

FestspielOrchester Göttingen, Laurence Cummings, cond.

3 June 2018

Handel Festival, Halle, Germany

Handel Rinaldo (Argante)

Kammerorchester Basel, Christophe Rousset, cond.

5 June 2018

Théâtre des Champs-Élysées, Paris, France

Handel Rinaldo (Argante)

Kammerorchester Basel, Christophe Rousset, cond.

6 June 2018

St Martinskirche, Basel, Switzerland

Handel Rinaldo (Argante)

Kammerorchester Basel, Christophe Rousset, cond.

4 July 2018

Festival d’Auvers-sur-Oise, France

Pergolesi Stabat Mater

With Sandrine Piau, Soprano, and Les Talens Lyriques, Christophe Rousset, cond.

Future Performances ↓

29 September 2018

Pergolesi Stabat Mater
With Sandrine Piau, Sopeano, and Les Talens Lyriques, Christophe Rousset, cond.

Teato Real, Madrid, Spain

MORE INFO

1 November 2018

Pergolesi Stabat Mater
With Sandrine Piau, Sopeano, and Les Talens Lyriques, Christophe Rousset, cond.

Essen, Germany

MORE INFO

February/March 2019

Legrenzi La Divisione del mondo (Marte)

L’Opéra national du Rhin, Strasbourg, France

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

Vivaldi Bajazet

Pinchgut Opera

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7 Peccati Capitali, Monteverdi

Cappella Mediterranea

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Susanna, Handel

Festpiele Orchester Gottingen, Laurence Cummings, cond.

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American Polyphony

Polyphony, Stephen Layton, cond.

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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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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

2017

Concert: Handel Israel in Egypt, BBC Proms, Royal Albert Hall, London, UK, Orchestra of the Age of Enlightenment, William Christie, cond.

Christopher Lowrey’s solo aria stood out.  Passages decorated by flurries displaying technique need to be kept clear like this.  Part of the beauty of baroque style is fluidity and translucent clarity of line.
– Classical Iconoclast

Christopher Lowrey stood out in two numbers for a clarity that was redolent of Iestyn Davies in its unaffected but unwavering resolve.
– Classical Source

The solos were similarly characterful with Christopher Lowrey singing with lovely tone, and again relishing the ‘frogs’, ‘blotches and blains’.
– Planet Hugill

Opera: as Guildenstern in Dean Hamlet, Glyndebourne Festival, Lewes, UK, London Philharmonic Orchestra, Vladimir Jurowski, cond.

Rupert Enticknap and Christopher Lowrey are perfect as Rosencrantz and Guildenstern — chirpy countertenors with blank faces who can do nothing but flatter superiors and fawningly repeat trite phrases.
– Opera Vivra

Countertenors Rupert Enticknap and Christopher Lowrey, brilliant – never leave with Hamlet for England, but instead live on to parrot Osric before and during the fatal fencing match.
 The Arts Desk

Une irrépressible sympathie va également aux Tweedledum and Tweedledeeles espions Guildenstern et Rosencrantz comme échappés de la comptine, que campent les contre-ténors Christopher Lowrey et Rupert Enticknap, parfaits.

An irrepressible sympathy also goes to Tweedledum and Tweedledee, the spies Guildenstern and Rosencrantz who have escaped the nursery rhyme, played perfectly by the camping countertenors Christopher Lowrey and Rupert Enticknap.

– Anaclase

Setting Rosencrantz and Guildenstern as a pair of counter tenors is nicely comic, and Rupert Enticknap and Christopher Lowrey are in fine vocal form.
– Where’s Runnicles

Having Rosenkrantz and Guildenstern as counter-tenors (Rupert Enticknap and Christopher Lowrey) was an inspiration; in smart grey suits and slicked-down hair these slim versions of Tweedledum and Tweedledee added their bright stupidity to the unfolding tragedy.
– Mark Ronan Theatre Reviews

Rosencrantz and Guildenstern are wittily reinvented as a pair of Gilbert and George-style countertenors (Rupert Enticknap and Christopher Lowrey), repeating themselves and each other in canon.
The Evening Standard

Rupert Enticknap and Christopher Lowrey as Rosencrantz and Guildenstern, here a Tweedledum and Tweedledee pair of counter-tenors, inherit most of the comedy.
– The Financial Times

What light relief there is comes mostly in the form of Rosencrantz and Guildenstern, played by Rupert Enticknap and Christopher Lowrey as foppish twin countertenors with fixed smiles who channel Tweedledum and Tweedledee.
– The Guardian

Désormais abonné aux rôles de ténor de caractère, Kim Begley est un savoureux Polonius, tout comme sont inénarrables Rupert Enticknap et Christopher Lowrey en Rosencrantz et Guildenstern.

Now subscribed to character tenor roles, Kim Begley is a tasty Polonius, as are the indescribable Rupert Enticknap and Christopher Lowrey as Rosencrantz and Guildenstern.
– Forum Opera

Rupert Enticknap and Christopher Lowrey’s characterization as Rosencrantz and Guildenstern seemed to owe something to the ENO’s vision of the ‘Sound the trumpet’ duet from The Faerie Queene – possibly a touch too camp for some tastes, although they both sang mellifluously.
– Music OMH

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

The standouts here are the marvelously full-toned countertenor Christopher Lowrey, as Tamerlano, and mezzo Helen Sherman, as a bold Irene.
– Opera News

However, this live performance from Sydney’s Pinchgut Opera is very nearly its equal in quality. There is an excellent Tamerlano from countertenor Christopher Lowrey with furious coloratura and an intense characterization.

– Opernwelt

Recording: as Joacim in Handel Susanna, Göttingen Handel Festival, Göttingen, Germany, Göttingen Festival Orchestra, Laurence Cummings, cond.

Christopher Lowrey’s supple technique, artistry and embellishments are responsive to gleefully scampering orchestral violins and crisp basso continuo-playing in Joacim’s ‘When first I saw my lovely maid’, and his virile pinpoint coloratura is both ardent and intelligently musical (‘On the rapid whirlwind’s wing’). Lowrey and Fons excel in their duets; their lilting semiquavers moving in thirds peal perfectly in ‘When thou art nigh’.
– Gramophone

Opera: as David in Handel Saul, Adelaide Festival, Adelaide, Australia, State Opera of South Australia Orchestra, Erin Helyard, cond.

Purves’ adversary is American countertenor Christopher Lowrey, a rising star that Australians have been fortunate enough to see in Brisbane Baroque’s 2015 Faramondo and Pinchgut’s recent Theodora. His David has just the right degree of vocal sensuality to lend his sexual exploits credibility. With a clean tone, easy lyricism and fine diction, he caresses the vocal line in a ravishing O Lord, whose mercies numberless, while conquering the awkward leaps in Impious wretch, of race accurst! His acting is first rate, capturing a real ‘never quite sure what his motive is’ complexity in the character.

– Limelight

As David, the American countertenor Christopher Lowrey is gloriously plausible. Whomever falls for him could be doing so because of his honeyed, seductive voice or because of his honeyed, seductive presence.
– Stage Noise

Charles Jennens’s (at times somewhat recalcitrant) text is certainly one of Kosky’s major focuses – not just its delivery, but its translation into stage action, attitude, and gesture. To be sure, some of the singers handle this more confidently and idiomatically than others: foremost here being Christopher Purves’s superlative Saul, Christopher Lowrey’s spirited David, and the High Priest/Abner/Amalekite/beruffled quasi-conferencier figure of Stuart Jackson…Among the soloists, Purves and Lowrey stand out for their musicianship and shaping of the line: the latter’s delivery of the two words ‘O King’ offers the most beautiful, powerful, and penetrating sound I have heard on an operatic stage from a counter-tenor since the days of the great James Bowman.
– Australian Book Review

Radiating calm with a voice of beautiful pristine clarity, countertenor Christopher Lowrey’s David is his opposite in vocal persona and dramatic agency, remaining serenely reactive as Saul drives his own destruction.
– Sydney Morning Herald

As Saul’s hero, and then his perceived enemy, David, is the American counter-tenor, Christopher Lowrey. His purity of tone is captivating and there is a sense of simplicity, almost innocence to his portrayal of David. The audience made it clear that he would be welcome back anytime.
– Broadway World

He produced a strong and clear alto sound. He is an attractive figure with a gift for stillness. It’s no wonder that both Jonathan and Michal fell in love with this David, and the tenderness and erotic passion that was explored on stage was heartwarming.

– Adelaide Now

The introduction of homosexuality between Jonathan and David appears somewhat presumptive. Christopher Lowrey’s sublime counter tenor rendition of his arias appear unbecoming a valiant hero and triumphant victor. And yet it is the very essence of such antithesis and contradiction that heightens the drama carrying the audience through Kosky’s theatrical realization of images of opulence and horrific starkness upon the ashen stage or the grim battlefield of dead bodies and cradled heads of the dead Saul and Jonathan. Handel and Kosky, aided by the Adelaide Symphony Orchestra under the baton of Erin Helyard, tug at the emotions, focusing our hearts and minds on every detail of theatricality and musicality.
– Canberra Critics Circle

American countertenor Christopher Lowrey’s rendition of David was poised while his voice had an Orphic charge in ‘O Lord, whose mercies numberless’.
– Australian Stage

While Iestyn Davies was outstanding at Glyndebourne, American countertenor Christopher Lowrey, stunning in last year’s Pinchgut Theodora, was a worthy replacement. Beginning with a stunning messa di voce on “O king, your favours”, his “O Lord, whose mercies” was a miracle of control and golden tone. There is not a great call for embellishment in Saul, but Lowrey’s coloratura provided some vocal luxury, with some brilliant high notes in his eulogy for Jonathan.
– Bachtrack

American countertenor Christopher Lowrey as David and Helpmann Award-winning West Australian soprano Taryn Fiebig as Michal run the full gamut from giddy exaltations to piercing laments, backed by the stately trilling of an Adelaide Symphony Orchestra conducted with mathematical precision by Erin Helyard and featuring a hybrid harpsichord/organ that Handel would have thoroughly approved of, and that Jennens would have dismissed as yet another maggot of an idea.

– The Guardian

The story then proceeds with the arrival of David (stunning British countertenor, Christopher Lowrey) and equally impressive baritone, Christopher Purves as Saul. What one witnesses with both of these fine singers throughout is their ease at moving through voice range, amazing breath control, dynamic range and the ability to give their characters great dramatic depth. Watching and hearing these two sing is an absolute privilege, not only because of their ability to entertain, but as they also allow you to experience vocal and dramatic artistry of the highest calibre.
– Cut Common

Christopher Lowrey’s David is fittingly noble. His agile counter-tenor is an amazing instrument which he controls to great effect, particularly in legato passages.

– Adelaide Theatre Guide

David is embodied by Christopher Lowrey and his counter tenor voice is yet more celestial. His first sung note is so pure and extended one can almost see it heading to the heavens.

– Barefoot Review

The shepherd boy David (counter-tenor Christopher Lowrey in marvellous voice) has just killed the giant Goliath. Saul then charts the emotional upheavals that occur when King Saul brings David into the bosom of his family and his subsequent descent into madness once his admiration for David turns to envy. Family relationships become complex when two of Saul’s children – his younger daughter Michal and his son Jonathan – fall in love with David.

– The Conversation

The rest of the cast includes a hauntingly voiced counter-tenor Christopher Lowrey as the future King David.
– Daily Review

David is ably performed by Lowrey who possesses the voice of an angel.
– Adelaide Review

Recording: Monteverdi i 7 Peccati Capitali, Cappella Mediterranea, Leonardo García-Alarcón, cond.

Cualquier argumento es bueno para que García Alarcón y sus colaboradores habituales (en este caso, las sopranos Mariana Flores y Francesca Aspromonte, el contratenor Christopher Lowrey, los tenores Emiliano González-Toro y Matthias Vidal, y el bajo Gianluca Burato) desplieguen su inigualable arsenal canoro, con la maravillosa música de Monteverdi como telón de fondo. A los seguidores del director argentino no habrá que explicarles quiénes son estos cantantes, salvo, quizá, en el caso de Lowrey, fichaje de última hora, sí, pero que viene a hacer justicia con la inmensa calidad que luce el joven contratenor norteamericano.

Any argument is good for García Alarcón and his regular collaborators (in this case, the sopranos Mariana Flores and Francesca Aspromonte, the countertenor Christopher Lowrey, the tenors Emiliano González-Toro and Matthias Vidal, and the bass Gianluca Burato) to display their uniquely tuneful arsenal, with the wonderful music of Monteverdi as a backdrop. The followers of the Argentine director will not need to explained to them who these singers are, except, perhaps, in the case of Lowrey, a recent addition, yes, but one that does the music justice with the immense quality of his brilliant young American countertenor.
– El arte de la fuga

On se réjouit de voir cet anniversaire fêté en famille, l’équipe du chef argentin retrouvant des piliers tels que Christopher Lowrey, Emiliano Gonzalez‑Toro et bien sûr son épouse Mariana Flores. Chanteurs et ensemble se montrent d’ailleurs au meilleur de leur forme. Le Néron de Lowrey ‑ pour la scène avec Sénèque ‑ et celui de Gonzalez‑Toro ‑ face à Lucain à l’acte Il ‑ rivalisent de férocité insolente, avec plus de tranchant chez le premier, de fantaisie chez le second.

We are delighted to see this anniversary celebrated as a family, the team of the Argentinian chief finding pillars such as Christopher Lowrey, Emiliano Gonzalez-Toro and of course his wife Mariana Flores. Singers and ensemble show themselves to the best of their form. The Nero of Lowrey- in the scenewith Seneca – and that of Gonzalez-Toro against Lucano in Act Il- rivalled insolent ferocity, with more sharpness in the first, and fancy in the second.

– Diapason

Parmi les accents d’un cycle hautement théâtral qui rend hommage au génie lyrique de Monteverdi : soulignons la parfaite perversité du Nerone agile, expressivement juste du jeune haute contre américain Christopher Lowrey

Among the highlights of a highly theatrical collection that pays homage to the lyrical genius of Monteverdi: let us underline the perfect perversity of the agile Nerone, sung with appropriate expression by the young American countertenor Christopher Lowrey.

– Classique News

Le contre-ténor Christopher Lowrey réussit à merveille en Mercure quasi-allégorique, exhibant des aigus éclatants et une voix quasi sans vibrato mais jamais détimbrée.

The counter-tenor Christopher Lowrey succeeded wonderfully in quasi-allegorical Mercury, showing sharp treble and a voice almost free of vibrato but never without tone.

Le Babillard

2016

Opera: as Didymus in Handel Theodora, Pinchgut Opera, Sydney, Australia, Orchestra of the Antipodes, Erin Helyard, cond.

Vocal honours for the evening however must go to Christopher Lowrey’s Didymus, a tour de force of singing and acting. Here surely is the emerging countertenor of the decade, with beautiful, seemingly effortless sound devoid of any trace of covering or hootiness. In his first air, “The raptured soul”, he captured all with a stunning messa di voce, continuing with lovely tone, accuracy, smooth flexibility and (not least) great clarity of diction. All his airs, and recitatives, were delivered with great conviction, and “Deeds of kindness” was notable for a beautiful cadenza. “Sweet rose and lily” was sung with exquisite sweetness. His duets with Theodora were beautifully blended and moving.

– Bachtrack

The American countertenor Christopher Lowrey, an engaging villain in 2015’s Brisbane Baroque Faramondo, is even better here as Didymus. His powerful voice is evenly produced across the range, his diction impeccable, and his vocal and physical presence considerable. His opening aria, The raptured soul, is magically delivered, acting through the coloratura and beautifully decorated. His consoling Kind Heaven is suitably heroic, while his crucial duets with Theodora, concluding with a radiant Streams of pleasure, are things of great beauty. A really distinguished performance.

– Limelight

Countertenor Christopher Lowrey animates a natural sense of line with elegantly stylish ornamentation, energised at times with sinewy agility without losing smoothness.

– Sydney Morning Herald

Finally, counter-tenor Christopher Lowrey played Didymus, the Christian convert who sacrifices himself to save Theodora. To be honest, I blame Lowrey for the whole eye-shutting thing. His aria, ‘The raptur’d soul defies the sword’, was so arresting, in terms of its sound, that I couldn’t help myself. That opening phrase, the long held note on ‘raptur’d’ was so complex, so easy and yet pained, and revealing more with every ritornello. All the suspense, in just one note.

– A Cunning Blog

Christopher Lowrey was a sympathetic Didymus, his exemplary technique and superb diction serving him well. His performance of the lovely Sweet Rose and Lily was a highlight. They were mesmerising in their two duets, their voices blending beautifully.

– Australian Book Review

Didymus, sung by Christopher Lowrey, had the sublime purity and heroism of the counter tenor and his Baroque flourishes were crisp. But it was in the three duets that these two really took flight. The easy balance showed a generosity of artistic creation.
– The Conversation

A superb American counter-tenor, Christopher Lowrey, was magnificent in the role of Didymus, a Roman soldier, a Christian secretly in love with Theodora.
– Middle C

Counter tenor Christopher Lowrey sings with power and heroism as the lover Didymus, and his Baroque ornamentations are precise.

– Cut Common

Theodora, sung by Valda Wilson, Irene, sung by Caitlin Hulcup and Didymus sung by American countertenor Christopher Lowrey, all did full justice to this magnificent work, with convincing, passionate performances and superb vocal work.
– Sydney Arts Guide

The love-struck Didymus was played by Christopher Lowrey, a counter-tenor with a most pleasing voice.  I do not warm to many male sopranos (apart from David Daniels, of course) yet here was beauty, style and flair in his rendition of the fiendish vocal lines by Handel.
– Andrew’s Opera

Concert: title role in Handel Tamerlano, Ambronay Festival, Ambronary Abbey, Les Talens Lyriques, Christophe Rousset, cond.

Mais le plus agile, frais et étincelant consiste encore dans le rôle-titre, illuminé par le talent confirmé du contre-ténor Christopher Lowrey.

But the most agile, fresh and sparkling singing yet comes from the title role, illuminated by the confirmed talent of countertenor Christopher Lowrey.
– Anaclase

En revanche, le contre-ténor Christopher Lowrey (Tamerlano), découvert il y a quatre ans (lors d’un concert du festival d’Ambronay délocalisé grand Temple de Lyon) dans « L’Ippolito » de Almeida, confirme son rang avec un timbre viril et un émission puissante.

On the other hand, counter-tenor Christopher Lowrey (Tamerlano), discovered four years ago (at a satellite concert of the Ambronay Festival in the Grand Temple of Lyon) in “L’Ippolito” of Almeida, confirms his class with a virile timbre and a powerful projection.
– Le Progres

More Reviews ↓

2016

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

2015

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.
Concertonet

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

2014

Recording: as Gernando Handel Faramondo, FestpielOrchester Göttingen, Laurence Cummings, cond.

Christopher Lowrey displays an attractive warm-toned soft-grained counter-tenor as Gernando, with a facility for amazingly fast and enlivening passagework. His is a highly sympathetic character, with a nicely mellifluous tone.
– Planet Hugill

The two countertenors – Maarten Engeltjes and Christopher Lowrey – stand apart from the rest of the cast…dispatching the virtuoso flourishes with flair, and their dramatic inflections are vivid. Lowrey…anchors the voice lightly in the chest when the music gives him time, and he makes his embellishments sound spontaneous.
– Opera News

Cummings draws stylish playing from his period orchestra and the youthful cast in nearly every instance is more than equal to its challenging roles. Countertenors Maarten Engeltjes and Christopher Lowrey shine as Adolfo and Gernando.
– Parterre Box

Countertenor Christopher Lowrey sings Gernando’s spiteful ‘Voglio, che mora, sì’ with dastardly glee.
– Gramophone

Concert: Bach St John Passion, Auckland Philharmonia Orchestra, Town Hall, Auckland, New Zealand

Paul Whelan’s resonantly voiced Jesus combined authority with unswerving humanity. His final “It is accomplished” led to a transcendent “Es ist vollbracht,” shared by countertenor Christopher Lowrey and the exemplary Laura Vaughan on viola da gamba. The American Lowrey came with glowing credentials from the European opera and early music circuit; they proved to be fully justified.
– The New Zealand Herald

“Es ist vollbracht” was a highlight of the evening, countertenor Christopher Lowrey combining plangency of tone with a simplicity of utterance that went right to the heart of one of Bach’s most exquisite movements. Mention must also be made of Laura Vaughan’s deeply felt viola da gamba solo.
– Bachtrack

DVD: as La Discordia/Euripilo/Polluce in Cavalli’s Elena, Aix-en-Provence Festival, Cappella Mediterranea, Leonardo Garcia-Alarcón, cond.

Two other voices that particularly impressed me were those of Mariana Flores and Christopher Lowrey, each of whom took several different roles: Flores’s soprano is full of personality, while Lowrey’s countertenor was strikingly clear and well-controlled. He’s been added to my list.
– The Idle Woman

Opera: as Gernando in Handel’s Faramondo, Göttingen; Handel Festival, Deutsches Theatre, Göttingen, Germany

Christopher Lowrey, well seasoned too in Bach and Handel…inhabited the role so well, both in temperament and voice, projecting with wide range and exquisite low register, the vehemence and passion latent beneath the surface…Right from his first aria, he caught the flashy brilliance of Handel’s writing for him, particularly effective as he juxtaposed in sudden higher and lower registers the oft repeated, almost ostinato-like, opening phrase of his first aria, “Voglio che mora, si” (“Yes, he shall die”)…Gernando in the hands of Mr. Lowrey was a captivating presence on stage… his dynamic portrayal of this licentious loser certainly contributed to making him an audience favorite, rightly so.
– Opera con Brio

Christopher Lowrey, as the villainous Gernando, displays a dazzling technique when not taking sniffs from a stash of Rosimonda’s panties.
– Financial Times

Countertenor Christopher Lowrey pulled out all the stops in his part as the perfidious Gernando.
– Opera Lively

Eine komplexere Persönlichkeit steht mit dem Schwabenkönig Gernando auf der Bühne: zärtlich, aber vergeblich verliebt, erst loyal, dann schäumend vor Eifersucht gegen seinen Rivalen Faramondo, aber auch intrigant und listig. Der Counter Christopher Lowrey hat die Stimme, die gegensätzlichen inneren Antriebe auszudrücken; pendelt zwischen zärtlicher Hoffnung mit einem Hauch von Resignation (“Non ingannarmi…”), düsterer Entschlossenheit (“Voglio che mora…”) und ungebremster Wut (“Nella terra, in ciel, nell’onda…”). Lowrey zeigt sich nicht nur den Koloraturen gewachsen, sondern kann auch die kantable Linie mit einem schönen, gestaltvollen Ton erfüllen. Doch nicht nur gesanglich setzt er sich an die Spitze des Ensembles: Dass seine Liebe zu Rosimonda obsessive Zügen trägt, stellt er in Haltung und Gestik treffend dar. Dass er sich offenbar eine ganze Sammlung Slips seiner Geliebten zugelegt hat, gibt der Figur einen Zug ins Abseitige.

The Schwaben King Gernando is a complex character on stage: affectionate, but unrequited in love, one minute loyal, the next scheming and cunning, seething with jealousy against his rival Faramondo. Countertenor Christopher Lowrey has the voice to express the conflicting inner drives, oscillating between tender hope with a hint of resignation (“Non ingannarmi …”), grim determination (“Voglio che mora …”) and unbridled rage (“Nella terra, ciel, nell’onda …”). Lowrey not only easily meets the demands of the coloratura, but can also manage the cantabile line with a nice, fully shaped sound. But it’s not only vocally where he puts himself at the head of the ensemble. In bearing his obsessive love for Rosimonda, he acts with apt pose and gesture.
– Revierpassagen

Der Countertenor Christopher Lowrey verkörperte mit groβer Bühnenpräsenz und atemberaubender Virtuosität den intriganten Gernando.

Christopher Lowrey embodied the intriguing Gernando with great stage presence and breathtaking virtuosity. 
– Klassik Heute

Etwa Countertenor Christopher Lowrey, der den Bösewicht; Gernando herrlich im Gleichgewicht hält zwischen akrobatischen Kastratenverzierungen in der Kehle und rauhbeinigen Übergriffen auf der Bühne.

As the evil Gernando, Christopher Lowrey maintains a gorgeous equilibrium between acrobatic castratiesque ornaments in the voice and his portrayal of a roughneck on stage.
– Frankfurter Allgemeine Zeitung

Ebenfalls gesanglich erstklassig und dazu noch humorvoll spielte der amerikanische Countertenor Christopher Lowrey die Rolle des Gernando, des Königs der Schwaben, der wie Faramondo in Gustavos Tochter Rosimonda verliebt ist, aber erfolglos bleibt.

Also vocally top notch as well as humorous is the American countertenor Christopher Lowrey, who played the role of Gernando, the King of Swabia, who like Faramondo is in love with Gustavo’s daughter Rosimonda, but is unsuccessful in his conquest.
– Der neue Merker

Auch Christopher Lowrey weiss als Gernando mit seinem Countertenor zu überzeugen. Dass Curran ihn ständig an irgendwelchen Unterhöschen schnüffeln lässt, die augenscheinlich von Rosimonda stammen, wird zumindest von einem Teil des Publikums mit Amüsement goutiert.

Christopher Lowrey also knows how to convince as Gernando with his countertenor voice. The fact that Curran has him constantly sniffing panties, apparently belonging to Rosimonda, is at least appreciated with amusement by members of the public.
– Online Musik Magazin

Opera: as L’humana fragilità in Monteverdi’s Il ritorno d’Ulisse in Patria, Boston Baroque, Jordan Hall, Boston

From the moment Human Fragility – how promising is that for a character to open a drama? – came rolling out from behind a curtain dressed in rags, lamenting his fate as a pathetic human being, we knew we were in for an exciting evening. As sung by Christopher Lowrey in a full-bodied, clear countertenor that made articulation of the text a virtue, Human Fragility became a character we could all relate to. After all, aren’t we all wracked by doubt and fears?
– Berkshire Fine Arts

Countertenor Christopher Lowrey proved poignantly transporting as the allegorical figure “L’Humana Fragilita”.
– The Hub Review

Concert: Metropolitan Opera National Council Auditions Grand Finals, Metropolitan Opera, New York

The program opened with Christopher Lowrey, a countertenor from Rhode Island. After his ravishing performance of “Furibondo spira il vento,” from Handel’s “Partenope,” I thought he would be a sure winner. His sound was glowing, focused and beautiful. He proved equally impressive in the second half of the program, offering a sensitive “Dove sei, amato bene?,” from Handel’s “Rodelinda,” and winning a rousing reception from the audience.
– The New York Times

Countertenor Christopher Lowrey opened with “Furibondo spira il vento” from Handel’s Partenope, which he sang with pointed tone and an engaging physicality. He also flirted briefly with a surprisingly strong chest register. During the second half, he showed a flair for clean diction, declamation, and dynamic control in Handel’s “Dove sei, amato bene?” from Rodelinda.
– New York Classical Review

2013

Opera: as Pastore in Monteverdi’s L’Orfeo, Academy of Ancient Music, Barbican Centre, London

Christopher Lowrey as Pastore offered beautifully controlled counter-tenor singing and in particular was in perfect balance with his tenor counterparts.
– Opera Britannia

There were also excellent contributions in the minor characters from countertenor Christopher Lowrey and baritone Dawid Kimberg.
– Bachtrack

Opera: as Discordia/Euripilo/Polluce in Cavalli’s Elena, Festival d’Aix en Provence

An alumnus of the RCM, Lowrey possesses a timbre that is reminiscent of a young David Daniels, and he is no less expressive as a singer-actor. Certainly a name to watch.
– Opera

The first singer you see/hear in Cavalli’s Elena from the Festival of Aix en Provence is American-born, British-trained countertenor Christopher Lowrey; and his appearance is arresting. He sings beautifully and remains engaging even when the focus is on other singers. Christopher is a flexible singer/actor, portraying Disorder in the prologue, as one of Neptune’s wavy/watery attendants, and other assorted characters.
– Regie, or Not Regie?

Christopher Lowrey is excellent in the smaller countertenor roles.
– Financial Times

Le contre-ténor généreusement projeté de Christopher Lowrey transmet aisément la joie mauvaise de La Discordia, mais aussi les atermoiements moins accusés d’Euripilo.
The generously projected countertenor of Christopher Lowrey easily conveyed a sense of sick pleasure as Discord, but also the more subtle prevarications of Euripilo. 
– Anaclase

CD: Vivaldi and Handel Dixit Dominus , La Nuova Musica (Harmonia Mundi)

Countertenor Christopher Lowrey sings with focused beauty.
– Limelight Magazine

Sensitive playing from the continuo team [is] matched by countertenor soloist Christopher Lowrey’s command and understanding.
– Early Music Review

A special mention should go to the countertenor Christopher Lowrey, who has an exceptional voice and whose upper range is extremely impressive.
– Hi-Fi Plus Magazine

The countertenor Christopher Lowrey shines on Handel’s setting, his vocals soaring way above the rafters.
– Whole Music Experience

Concert: Handel Messiah , Royal Scottish National Orchestra

[This] approach was reflected throughout a fine quartet of soloists, most obviously in counter-tenor Christopher Lowrey…where spare, but individual, ornamentation enhanced precision and evenness of tone.
– The Herald Scotland

 

Concert: Handel Il trionfo del tempo e del disinganno , La Nuova Musica

Two of the oratorio’s highlights are reserved for Enlightenment, the luscious arias “Crede l’uom” and “Più non cura”, both of which feature recorders. Countertenor Christopher Lowrey rendered the yearning simplicity of their melodic lines to perfection.
– Classical Source

2012

Opera: as Creonte in Almeida’s L’Ippolito, Ambronay Festival

Accomplished contributions came from the countertenor Christopher Lowrey.
– The New York Times

Opera: as Joacim in Handel’s Susanna, Iford Arts

A counter-tenor of remarkable promise, Christopher Lowrey sings the role of Susanna’s largely absent husband, Joacim, with mellifluous warmth.
– The Stage

Lowrey himself played Joacim as decidedly wet-behind-the-ears, but there was nothing damp about his powerfully-focused, expressively supple countertenor – as lush and fertile as the pastures surrounding Arcadian Iford.
– Venue

Christopher Lowrey sings the role of her husband Joacim elegantly.
– The Independent

As Susanna’s husband, Joachim, countertenor Christopher Lowrey is also strong.
– The Guardian

2011

Concert: Bach’s B Minor Mass, Three Spire Singers, Truro Cathedral

Countertenor Christopher Lowrey was simply breathtaking, glowing tones flowing like honey, culminating in a deeply moving ‘Agnus Dei’.
– The West Briton

Opera: as Bertarido in Handel’s Rodelinda, London Handel Festival

As Bertarido, counter-tenor Christopher Lowrey is by turns beguiling, imposing, and virtuosic. Effortless in its athleticism while richly seasoned, this is a remarkable voice. Such RCM productions are billed as our chance to see tomorrow’s stars today, but these two principals are quite the equal of many already on the circuit.
– The Independent

2010

Concert: Fundraiser for the 2011 London Handel Festival

Young Lowrey…offered some real drama combined with concise, accurate coloratura. He seemed most at home with the material from Rodelinda and this confirmed the promise he showed in 2009 at the Festival/Britten International Opera School production of Alessandro. He is an undoubted talent in the ever-increasing pool of excellent young countertenors graduating now.
– Opera Today

Opera: as Mirtillo in Handel’s Il Pastor Fido, London Handel Festival

Mirtillo, the Faithful Shepherd, was Christopher Lowrey, last year’s Alessandro, and now even more polished. 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

Christopher Lowrey, who as Mirtillo, the faithful shepherd of the title, sang his way through a series of exhausting, highly decorated arias with admirable ease [and] liquid tone…
– The Guardian

As Mirtillo […] counter-tenor Christopher Lowrey’s warm and athletic singing was the most engaging thing about this production – he is such a complete performer that his place in a student production is a mere technicality. We are sure to hear him everywhere soon.
– The Independent

Among the main cast it was Christopher Lowrey’s Mirtillo who really commanded attention. One to watch (or listen) out for, his is a lower countertenor voice with a striking depth and resonance. His opening aria, ‘Sento brillar’, demonstrated impressive control and legato which only became more evident in the opera’s most beautiful aria, ‘Caro amor’ […] Equipped with some dazzlingly secure coloratura technique and an ear for ornamentation, he romped his way through virtuoso numbers such as ‘Torni pure un bel splendore’, drawing spontaneous applause from an otherwise fairly demure audience. He also demonstrated a dramatic commitment that was by no means common to all the cast – taking risks and daring to overdo things where necessary.
– Opera Britannia

Sunday’s cast featured an unusually gutsy and promising countertenor, Christopher Lowrey, as the shepherd Mirtillo…
– The Times

London Handel Singing Competition

Lowrey showed a strong dramatic instinct and ravishing singing.
– Opera Britannia

2009

Opera: as Oberon in Britten’s A Midsummer Night’s Dream

Christopher Lowrey as Oberon reminded us that a countertenor need not sound merely fey; the voice, as various composers from Britten, to Goehr, to Birtwistle, have shown, can exhibit an otherworldly strength, as it did here.
– Seen and Heard International

As Oberon, Christopher Lowrey delivered a beguiling ‘I know a bank’.
– The Independent

Christopher Lowrey was a verbally incisive Oberon; his countertenor had a penetrating edge and he sang ‘I know a bank’ beautifully…
– Opera

There was a genuine dangerous magic in [the music], helped by Christopher Lowrey’s haunting, otherworldly Oberon… This Oberon was still the centre of things, and ‘I know a bank’, swaying with pauses and rubato, full of real mystery and enchantment.
– Opera Now

Opera: as Alessandro in Handel’s Alessandro, London Handel Festival

The role of Handel’s soldier-king Alessandro (Alexander the Great whose empire reached to India in the east) takes some singing, and at first sight the young (he looks about sixteen, but obviously isn’t) American countertenor Christopher Lowrey seemed mis-matched to the role. That is until he opened his mouth, and started to dominate the stage. This young singer has that rare quality in this voice-type: a properly produced, strong warm tone, with no hint of that archetypal “English” hooty and constrained sound that is still too frequently found… Perhaps just as important for any future operatic career is his obvious delight in being on stage and his ability to hold the eye – not always obvious in other young singers at this level. A Handelian star in the making one hopes.
– Opera Today

Of all these young voices, [Lowrey’s] has the most character. Not so idiosyncratic as to distract from Handel’s elegant melodic contours, but varied enough, and with sufficient timbral interest to provide musical justification for each and every da capo repeat.
– MusicWeb

Lowrey [displayed] the flexibility of his plangent counter-tenor…
– The Times

Christopher Lowrey in the title role has a lovely easy, free and silky countertenor.
– Opera Now

2008

CD: Handel’s Dettingen Te DeumTrinity College Choir, Stephen Layton dir. (Hyperion)

The choir’s sound is especially distinguished by its rarefied soprano section (women instead of the boys on the Pinnock disc), with strong solo work from one of the choir’s altos, countertenor Christopher Lowrey.
– Ionarts

The incidental alto solos are well done by Christopher Lowrey.
– Arkivmusic

2007

Performance – Bach’s Magnificat

Lowrey was wonderful in the Magnificat‘s delicious ‘Esurientes implevit bonis’, written for two flutes, a jazzy walking bass and an alto. And his singing last night was remarkable, natural sounding and never forced. The ‘Esurientes’ from the Bach, which talks about filling the hungry with good things and sending the rich away empty-handed, was terrific, with Lowrey leaning into the notes and tossing off nicely shaped phrases.
– The Providence Journal

Contact

Please direct all enquires to:

Anna Purefoy, IMG Artists

For anything else

Contact Christopher directly:

Photography by:

Rebecca Fay