"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." 


"From the outset, the countertenor Christopher Lowrey dazzled as Julius Caesar with his clear timbre, his remarkable projection, the ease with which he took on a long role, demanding from an expressive point of view and a formidable virtuosity. No vocalization can resist him: neither the velocity of an “Empio, dirò tu sei” with a particularly fast tempo, nor the ardor of “Al lampo dell'armi”. But we will particularly remember his “Va tacito e nascosto” from the first act where the character, until then almost juvenile, gains in depth while swelling with cynicism. Accompanied by a superb horn solo as well as a dense and deep orchestra, Christopher Lowrey asserts himself as a performer to be reckoned with, and we are delighted about it."




"Christopher Lowrey is increasing his collaborations with Les Talens Lyriques and we should be happy about it because he is quite simply one of the most talented American countertenors of the moment. Dense-grained instrument, well connected, both solid and flexible, its alto works wonders in the flights of Leo's Beatus vir and its musicality unfolds with equal fullness in the cantabile where a sensitivity emerges that we would like to discover more."




"The vocality of Christopher Lowrey is generous and the orchestra brilliant…his youth merges with the great experience of Sandrine Piau…The countertenor is particularly illustrated in the aria Quae moerebat . The line here is clearer, purer than Leo’s. Virtuosity, by the way, is no less impressive. The tremors that translate the verb tremebat are exemplary of Italian vocality: artifice remains constantly subject to expression. Lowrey demonstrates a fully mastered technique and a convincing tessitura from one extreme to the other. In the last movement, Quando corpus morietur , after the delicious dissonant appoggiatures of the orchestral introduction, he reveals a very appreciable variety of timbres, from dolce silky to the most brilliant, and pays full attention to the realization of cadences (conclusive formulas) very neat and exact, with a trill well proportioned and a measured resolution."



 "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."


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.



0616 PO19FA 4089 Tech Pan Robert Catto.j

"Lowrey, with a high quality and technically secure voice, proved that he belongs to the new generation of fine baroque singers."




"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."



"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."


"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."


"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."



"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’."




"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."