Press
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"As soon as he opens his mouth, on the other hand, the laughter stops and we drink whey: fullness of timbre, royal projection, curves and elegance of the line, dynamic nuances, sober and delicate lyricism."
FORUM OPÉRA
"Lowrey, with a high quality and technically secure voice, proved that he belongs to the new generation of fine baroque singers."
CRITICS' POINT
"He is quite simply one of the most talented American countertenors of the moment."
FORUM OPÉRA
“The technique was a marvel.”
SAN FRANCISCO CLASSICAL VOICE
"Countertenor Christopher Lowrey is just as good as Bertarido. He rivals Bicket's Iestyn Davies in mellifluous smoothness (a Senesino speciality) and inwardness, and arguably excels him in dramatic involvement."
GRAMOPHONE
"The youthful and utterly thrilling Christopher Lowrey gave us a heart-breakingly perfect Unulfo, he transfixed me, gave this role real presence, engaging humor and I had a perfect Handel moment during his second aria."
GSCENE MAGAZINE
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"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
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"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
"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,
BACHTRACK
"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
"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
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"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
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