Alexandra Oomens


"Her tone was bright and creamy, her coloratura fully formed and her stamina impressive..."

Yehuda Shapiro, Opera Magazine

"Her arias in both works were sheer delight, sung with lovely silvery tone, precise and well-articulated coloratura, smooth, even legato and emotional commitment."

Sandra Bowdler, Bachtrack

"Alexandra Oomens’ “luminous” soprano"

Alexandra Mathew, CutCommon

Download full biography

Australian soprano Alexandra Oomens is a recent graduate from the Royal Academy Opera where she studied with Lillian Watson and Jonathan Papp. Alexandra holds an MA and a DipRAM for an outstanding final recital (Royal Academy of Music, 2017), and a BMus Hons. (Conservatorium of Music, University of Sydney, 2014). In 2017, she made her European debut at the Concertgebouw in the world premiere of a work commissioned for the Holland Festival. She is an alumna of the Georg Solti Accademia where she worked under Meastro Alessandro Corbelli, Barbara Frittoli, and Sir Richard Bonynge. In 2020 she joined the Harewood Artists programme at English National Opera.

In July 2019, Alexandra sang the role of Zerlina Don Giovanni with Clonter Opera, and in 2020 she made her debut with Opera North in the role of Barbarina The Marriage of Figaro, and this season she returns to Pinchgut Opera to sing Aurora/Dafne/Procri in Apollo e Dafne.

During her time at Royal Academy Opera, Alexandra sang Vixen Cunning Little Vixen, the title role in Semele, La Princess/La Chauve-Souris L’Enfant et les sortileges, Laurette Le Docteur Miracle, Tina Flight, Cupidon Orphée Aux Enfers, and Damigella L’Incoronazione di Poppea. Alexandra has performed in various Royal Academy Opera Scenes: as Titania A Midsummer Nights Dream, Ännchen Der Freischütz, Despina Cosí fan tutte, Héro Beatrice et Benedict, and Corinna Il Viaggio a Reims.

Alexandra has performed in various recitals, including performances of Mozart’s Exsultate Jubilate with the Amersham Festival of Music, and the Ride Hunters Hill Symphony Orchestra, Bach’s Jauchzet Gott in Allen Landen and Coffee Cantata at the Canberra International Music Festival. She has performed as the soloist in Bach’s Easter Oratorio and Telemann’s Die Donner Ode with Pinchgut Opera, Bach’s B Minor Mass with Song Company, Vivaldi’s Gloria with Gondwana Choirs, and Bach's Christmas Oratorio (part 6) as part of the Royal Academy/Kohn Foundation Bach Cantata series. She has also performed with the Australian Chamber Orchestra, Netherlands Radio Symphony Orchestra, Sydney Symphony Orchestra, Eroica Ensemble, and the Orchestra of the Antipodes.

This biography is for information only and should not be reproduced.

​ Mozart The Marriage of Figaro (Barbarina)

Opera North (February 2020)

Alexandra Oomens showed much promise as Barbarina.

Melanie Eskenazi, MusicOMH****

There are also standout performances from Heather Lowe as Cherubino and Alexandra Oomens who makes an all too brief but memorable appearance as Barbarina.

John Murphy, The Stage****

Alexandra Oomens was the peppy Barbarina.

Martin Dreyer, Opera Magazine​

Barbarina, a cameo role played deliciously by newcomer, Alexandra Oomens.

Eve Luddington, On: Yorkshire Magazine

Mozart Don Giovanni (Zerlina), Clonter Opera Theatre

(July 2019)

Distinctive contributions from Alexandra Oomens's Zerlina…

Martin Dreyer, Opera Magazine

Alexandra Oomens' bewitched, fragrant, white-booted Zerlina and Jacobo Ochoa’s infuriated Masetto were pure joy, battling often, then touchingly making up.

Roderic Dunnett, Opera Now

Bach Easter Oratorio & Telemann, Die Donnerode, Pinchgut Opera

(April 2019)

Soprano Alexandra Oomens was outstanding… Her arias in both works were sheer delight, sung with lovely silvery tone, precise and well-articulated coloratura, smooth, even legato and emotional commitment. Her voice has considerable heft and can display a range of colours, pointing towards a successful career in opera, concert and recital.

Sandra Bowdler, Bachtrack

The longest single piece for the evening came with the ten minute or so aria for soprano, sung with serene poise and warm tone by young Australian star on the rise, Alexandra Oomens. Each repeat was another opportunity to enjoy her easy resonance.

Heather Leviston, Classic Melbourne

Alexandra Oomens’ “luminous” soprano… stood out, soaring above the voices of her colleagues. The first aria… gave space to Oomens’ voice, allowing us to hear the full range and beauty of her instrument… Her intonation alone was worthy of praise: each note, no matter how short, was impressively given its full due.

Alexandra Mathew, CutCommon

Soprano Alexandra Oomens was superb; soaring with her pure clear voice, ravishing and delicate yet also revealing steely strength.

Lynne Lancaster, Performing Arts Hub

Outstanding in the Bach, soprano Alexandra Oomens and flautist Melissa Farrow made a near-faultless pairing for the lengthy Seele, deine Spezerein aria: interpretive artistry of high quality.

Clive O'Connell, The Sydney Morning Herald​

Tchaikovsky Iolanta & Ravel L'Enfant et les sortilèges (Princess, Bat)

Royal Academy Opera (March 2019)

Alexandra Oomens was a radiant and dramatically commanding Princess.

Claire Seymour, Opera Today

Special mention for soprano Alexandra Oomens as the Princess torn from her storybook (and dressed to look like Iolanta; a nice touch).

Stephen Pritchard, Bachtrack****

Handel Semele, Royal Academy Opera

(November 2018)

The Australian Soprano was… thoroughly deserving of her prima donna status. Her tone was bright and creamy, her coloratura fully formed and her stamina impressive as she traced the path of a character who was spontaneous, playful, determined to get her way, and adorable - not just self-adoring.

Yehuda Shapiro, Opera Magazine

The vocal platform is however dominated, without much surprise, by the soprano Alexandra Oomens in the title role… The emotional range she expresses is impressive and her singing, generous in virtuous feats and nuances, seduces as much as her play and physical energy.

Georgiana Hatara, Bachtrack

Handel Teseo (Clizia), London Handel Festival

St George’s Church, Hanover Square (April 2018)

As Clizia, Alexandra Oomens … made good use of the rich colours of her mezzo and was very engaging dramatically: ‘Rispendente, amiche stelle’ (Beam down, friendly stars) seemed aflame with celestial heat, and her duets with Alexander Simpson’s Arcane were unfailingly alert and dramatic - and impressively off-score.

Claire Seymour, Opera Today

Grétry L'amant jaloux (Isabelle), Pinchgut Opera

(December 2015)

As the soubrette Isabelle, Alexandra Oomens’ lovely light tone was a pleasure to listen to.

David Larkin, Bachtrack****

Salieri The Chimney Sweep (Lisel), Pinchgut Opera

(July 2014)

Alexandra Oomens, demonstrated a pearl-like youthful tone and plenty of acting ability in the role of Lisel: a bright future awaits her.

David Larkin, Bachtrack****

Alexandra Oomens' Concert Repertoire


B Minor Mass
Coffee Cantata
Easter Oratorio
Jauchzet Gott in Allen Landen


Ch’io mi scordi di te?
Exsultate Jubilate


Das Namensfest


Die Donner Ode



Alexandra Oomens' Opera Repertoire


Le Docteur Miracle (Laurette)


Giasone (Isifile*/Alinda)


Flight (Tina)


L’Amant Jaloux (Isabelle)


Semele (title)
Teseo (Clizia)
Faramondo (Childerico)


The Cunning Little Vixen (Vixen)


L’incoronazione di Poppea (Damigella)


Cosí fan tutte (Despina*)
Don Giovanni (Zerlina*)


Orphée aux enfers (Cupidon)


Dido & Aeneas (Belinda/2nd Lady)


L’Enfant et les Sortilèges (La Princesse/La Chauve-Souris)


Der Rauchfangkehrer (Lisel)

*role studied/covered

These photos are available to be downloaded.
Right click on a desired image and select the "Save Link As" option.