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