Elena Xanthoudakis is represented by Rayfield Allied worldwide (excluding USA).

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Elena Xanthoudakis

Soprano

  • Delius's Seven Danish Songs ... were sung with generous ardour by Elena Xanthoudakis.
    The Observer
  • The most vibrant portrayals are those of deliciously-observed and sumptuous-voiced ugly sister duo Elena Xanthoudakis and V. Yaravaya.
    The Stage
  • Soprano Elena Xanthoudakis is a sheer delight as Adina, colouring every sung moment with refreshing clarity and agility or, where called for, plaintive reflection.
    The Scotsman
  • Elena Xanthoudakis is a splendid Lisa, singing and acting the role to perfection.
    Classical Source
  • Elena Xanthoudakis makes her first appearance of the 2014-15 season in the title role Lucia di Lammermoor at Winslow Hall Opera in England, and soon after travels to Athens to join Greek National Opera in a high-profile gala concert celebrating the art and talent of Maria Callas.  She travels to Lebanon to appear in another Callas tribute concert at the Al Bustan Festival, and returns to the UK for recital appearances.

    Last season’s highlights include the role of First Niece Peter Grimes at Academia Nazionale di Santa Cecilia under the baton of Sir Antonio Pappano, and as Gilda Rigoletto at Opera Queensland for which she won outstanding notices.  She toured her native Australia to promote her ensemble’s CD release ‘The Shepherd and the Mermaid’ TrioKROMA (piano, voice and clarinet), and returned to The Sage, Gateshead, to record a solo CD in collaboration with Richard Bonynge, ‘Jewels of the Bel Canto’, which is highly acclaimed and produced stunning reviews.

    Recent successes include her appearance at English National Opera as Pamina Die Zauberflöte, and sang the roles of both Lisa and Amina La Sonnambula at the Royal Opera House, Covent Garden, conducted by Daniel Oren. Other roles include MichaelaCarmen, Adina L’elisir d’amore, Blonde Die Entführung aus dem Serail, Ann Truelove The Rake’s Progress, Constance Dialogue des Carmélites, Dalinda Ariodante, Matilde Matilde di Shabran, Ismene Mitridate, Micaela Carmen, Dido Dido and Aeneas,  andIris Semele among others.

    • Lucia di Lammermoor, Winslow Hall Opera
      Sept 2014

      The lyric Australian soprano Elena Xanthoudakis made an enchantingly fey Lucia... The quivering sensitivity of her opening aria contained the seeds of her subsequent murderous madness, tactfully enacted and imaginatively sung; the girl’s helpless dilemma was intensely felt. She must perform this role again soon.
      Rupert Christiansen, The Telegraph
      Elena Xanthoudakis … is a passionate actress, almost alarmingly identifying with the role. Giving an original account of the mad scene, she begins with hysterical mirth, which intrudes from time to time as she muses on her fate, always using her large and supple voice to intense expressive effect.
      Michael Tanner, The Spectator
      [The singers] were terrific, especially the Greek soprano Elena Xanthoudakis, who sang Lucia not only brilliantly but also with huge elegance, charm and dramatic power.
      Alexander Chancello, The Spectator
      Simply clad in cream, Elena Xanthoudakis sympathetically conveyed Lucia’s highly-strung naivety. At her wedding she managed to hold herself icily together until the contract was signed; the subsequent Mad Scene, at such close quarters, was genuinely harrowing. Xanthoudakis’s clear lyric sound has striking immediacy, and her fluent coloratura grew naturally out of its musical and emotional context, with even the cadential top notes transformed into (truncated) exclamations of shock.
      Yehuda Shapiro, Opera Magazine
      The star of the show ... was Australian soprano Elena Xanthoudakis in the title role of Lucia. Lucia is a woman with so many men interfering in her business that she doesn’t know what to do with herself, and eventually descends into madness. Xanthoudakis’ acting is superb, bathed in blood red light from above. Her voice is clear and loud and she sings the opera’s celebrated mad scene with panache, helped by excellent acoustics.
      The Oxford Times
    • Jewels of the Bel Canto, Signum Records
      May 2014

      This programme of bel canto operatic arias …contain(s) fine mixture of those tempos, from elegant cavatinas, like Giulietta’s ‘Oh! Quante volte’, to sparkling cabalettas such as Matilde’s ‘Tace la tromba altera’, with which the recital ends, and the more well-known ‘Ah! non giunge’ of Amina. […]her tone is well formed, focused and supported, and she can cover a wide vocal range. The top of her voice does not become thin, which is just well, for there is no shortage of high notes, which are steady in their production. Add to all that her flexibility and one has a singer who is worth hearing. Xanthoudakis and her conductor Richard Bonynge do use variations and embellishments, which are successfully negotiated. One of the liveliest of the arias here is ‘ Vorrei spiegarvi il giubilo’ from La cambiale de matrimonio […]. Xanthoudakis is nimble up and down the scales: I shan’t say ‘like child’s play’, for few children would be able to do it. She invests Marie’s ‘Chacun le sait’ with a frolicsomeness that one expects from this merry and frisky daughter of the regiment. The other piece in French is Adèle’s solo from another sparkling opera, Le Comte Ory. Longer than ‘Chacun le sait’, it covers a wide spectrum of emotions. In the recitative, ‘En proie à la tristesse’, Xanthoudakis sings with a touch of sadness, neatly phrased, before launching into an expression of love for Comte Ory’s page Isolier that reawakens ‘the burning fire of youth’, and here our soprano makes one feel Adèle’s joy. […] The recitative and the cavatina ‘Regnava nel silenzio’ find Lucia telling how upset she was on seeing the spirit of a murdered woman by the fountain. Xanthoudakis expresses it on a smooth line before the cabaletta, ‘Quando rapito in estasi’, finds Lucia in happier mood as she thinks her lover Edgardo, to which Xanthoudakis brings fleetness of voice. The excerpt from La Sonnambula is similarly constructed. The recitative is thoughtfully shaped here and ‘Ah! non credea mirarti’ reinforces the pleasure Xanthoudakis’s flowing line in slower music, before it gives way to the jaunty opening bars of ‘Ah! non giunge’. […]It is right, however, that it is Matilde’s cabaletta which brings the show to a close, with thrills and visits to realms above the stave, to which one sits back and relaxes, knowing that this particular soprano will not fail.
      John T. Hughes, International Recording Review
      Xanthoudakis has a pleasantly even-toned voice that is free from the usual vices. She possesses that special requisite in bel canto singing of being able to power up to stratospheric notes with ease and pinpoint accuracy. With its trumpet effects, testing coloratura runs and top Cs, Donizetti’s regimental song Chacun le sait from La Fille du Regiment proves but a walk in the park for Xanthoudakis. But showiness is not what this album is about. Xanthoudakis is a fine shaper of phrase. She judges fluxes of tempo nicely in Egli non riede ancora! from Verdi’s Il Corsaro and gives poignant spaciousness to Bellini’s Eccomi in lieta vesta from I Capuleti e i Montecchi.
      Graham Stahle, The Australian
      ...[her voice] has a light timbre and gives the impression of effortlessness in the rapid runs and wild vocal leaps...This is an outstanding debut album from a young singer who will hopefully attract a new generation of bel canto fans.
      Steve Moffatt, Limelight
      From the first aria on this disc, Australian-Greek soprano Elena Xanthoudakis makes it obvious she is a singer to watch. Her exquisitely focussed voice has warmth and suppleness aplenty. No wonder Richard Bonynge agreed to conduct Royal Northern Sinfonia for the program reflecting Xanthoudakis’s great idols, Greek soprano Maria Callas and Australia’s Joan Sutherland. Xanthoudakis is ravishing in Dame Joan’s big success role as Lucia di Lammermoor all those years ago, joined by another Australian, mezzo Catherine Carby for ‘Regna nel Silenzio’. With glittering high notes, it is a tour de force but not the only one, true Bel Canto jewels by Gaetano Donizetti, Giuseppe Verdi, Vincenzo Bellini plus a rarity, Gioachino Rossini’s ‘Ami alfine?’. To think Xanthoudakis, born in a tiny Victorian Alpine town, might have been a gymnast (she trained at the Victorian Institute of Sport), or a physicist. Her intelligent approach and melting tones make each gem on this debut recording a winner.
      Patricia Kelly, Courier Mail
      Xanthoudakis herself scores on many fronts, but especially in selecting appropriate ornaments that bring repeated sections to unusually vivid life... Xanthoudakis also offers a good trill - something perfectly displayed in Norina's aria from Don Pasquale, where the soprano negotiates her top register with consistent confidence and fluency. Style and personality mark her Marie in La Fille du régiment...
      George Hall, Opera
    • Rigoletto, Opera Queensland
      March 2014

      Elena Xanthoudakis’s Gilda is a delight from start to finish, with a sweetness and purity of tone that matches her strength of character.
      Flloyd Kennedy, Performing Arts Hub
      But it is the women that steal the show – and one woman in particular. Elena Xanthoudakis as Gilda is dazzling. The role has the potential to be a dull stock character – a naïve female victim. But Xanthoudakis has it all: the adolescent playfulness of the Duke’s daughter, the youthful terror of the adult world she’s been thrust into and, above all, the notes.
      Andrew Messenger, Limelight
      ...but the outstanding performance came from Elena Xanthoudakis as Gilda, beautifully sung entrancingly acted.
      John Carmody, Opera
    • The Magic Flute, English National Opera
      Sept 2012

      Elena Xanthoudakis as Pamina is allowed to be subtler - her bright, shining timbre deployed with tact and sensitivity.
      David Gutman, The Stage Reviews
      Especially memorable is Elena Xanthoudakis's Pamina, voiced with shining tone and a fine appreciation of the music's lyrical contours.
      George Hall, The Guardian
      Elena Xanthoudakis made a glowing Pamina. Slight of figure, she has a lovely lyric voice, with a strong edge to it and a feisty manner. This came out particularly in her more misogynistic moments. She was playfully pert in her duet with Duncan Rock’s Papageno, but in her Act 2 aria she sang with a beautiful line and a powerful sense of pain. All in all, a radiant performance.
      Robert Hugill, Planet Hugill
      The object of his affection, Pamina, was sung warmly by Elena Xanthoudakis: her aria during the ‘Second Test’ (not cricket!), Tamino having rejected Pamina, contained beauty within sorrow – and it was very seductive, surely enough to melt the Prince's heart.
      Kevin Rogers, Classical Source
      Elena Xanthoudakis' voice was sweet and pure in her role as Pamina.
      Julia Savage, Bachtrack
      Elena Xanthoudakis was a pure but strong – rather than fragile – Pamina all the way through, justifying Daniel Heartz’s suggestion that the opera should be titled Pamina. Her Act Two scene with The Queen of the Night was gripping drama in every sense of the word.
      Agnes Kory, Musical Criticism
      Elena Xanthoudakis is pure loveliness as Pamina.
      Simon Thomas, Whatsonstage
    • Delius Orchestral Songs, English Music Festival
      June 2012

      The final concert the following night Delius’s Seven Danish Songs […] were sung with generous ardour by Elena Xanthoudakis.
      Fiona Maddocks, The Observer
    • La Cenerentola, Glyndebourne
      May 2012

      The most vibrant portrayals are those of deliciously-observed and sumptuous-voiced ugly sister duo Elena Xanthoudakis and Victoria Yaravaya.
      Graham Rogers, The Stage
      There was much to like however, about the "ugly" sisters, Elena Xanthoudakis and Victoria Yarovaya strong actors as well as singers.
      Robert Wlaport, The Tyro Theatre Critic
      The first delights that we're treated to, as the torn curtain is lifted on the humble home of wicked stepfather Don Magnifico, are the voices of the ugly sisters. The fizz and zip that Elena Xanthoudakis (Clorinda) and Victoria Yarovaya (Tisbe) invest in their opening lines is so attractive that it completely undermines the possibility that they might not be the ones we're supposed to root for. Their rivalry, jealousy and vanity is never anything less than irresistable, especially when fate periodically turns against them and we see them dropping to the floor in fits of fainting.
      Igor Toronyi-Lalic, The Arts Desk
      The two dreadful sisters were skilfully sung by Elena Xanthoudakis and Victoria Yarovaya, nicely differentiating their characters and making the most of their opportunities. It is easy to overlook these roles as a standard fairy-tale pair, but strength of casting here always pays dividends. Xanthoudakis was a spiteful Clorinda, putting her foot in it at every test.
      Alexander Campbell, Classical Source
      The ensembles bubble and fizz, a tribute as much to the sparky – and far from ugly – sisters, Elena Xanthoudakis and Victoria Yarovaya.
      Andrew Clark, The Financial Times
      But there are now plenty of laughs in her redefinition of Cenerentola's sisters (Elena Xanthoudakis and Victoria Yarovaya) as a pair of competitive social climbers straight out of Jane Austen.
      Tim Ashley, The Guardian
      Her sisters, Clorinda and Tisbe, in the shape of Elena Xanthoudakis and Victoria Yarovaya, are more comely than ugly, steering clear of the mugging that can so easily make these roles merely stereotypical. Xanthoudakis, in particular, generates great sympathy in her pathetic downfall, and again truthfulness – a soul-grinding jealousy and ungraciousness that is slowly won over by decency – is the order of the day.
      Simon Thomas, WhatsonStage
      Both Elena Xanthoudakis and Victoria Yarovaya enjoyed themselves hugely and sang beautifully as the sisters.
      William Hartston, Express.co.uk
    • Trio KROMA CD ‘The Shepherd and the Mermaid’
      March/April 2012

      […] very appealing singing of Elena Xanthoudakis whose warm, flexible sound suits both the wistfulness of these songs and their stylised yodels.
      ABC LIMELIGHT Magazine
      Elena Xanthoudakis gives each song the full feeling they are due in a very intuitive way, which is very refreshing to hear. She has a powerful, full, yet sensitive voice, able to build up and sustain quite a volume” “her heroines (and heros) are always bright-eyed and interesting, having much address. Her voice is bright, energetic, with an interesting texture nearer the shining raw silkend of the spectrum than the velvet, with a subtle vibrato and taught trills. Her understanding detail and nuance in the phrasing of the music speaks to her sensibility as well as the thorough research, rehearsal and no doubt endless takes the group has gone through for the recording, knowing the music inside and out ... As for historical performance practice, one of the most important things to get right, as Nikolaus Harnoncourt has pointed out, is to capture afresh in the present day the original spirit of the music, that in which it was inspired and composed and first performed, and I felt their honestly and sensitively attuned performance did this.
      Andrew Miller, The Berkshire Review
    • La Sonnambula, Royal Opera House Covent Garden
      Oct/Nov 2011

      Elena Xanthoudakis makes a delightfully entertaining and waspish Lisa.
      Stephen Pritchard, The Observer
      Elena Xanthoudakis shone in the small, but pivotal role of Lisa. Hers is another coloratura soprano, albeit of the bright, white variety. Pingingly accurate, she was charming, vivacious and just a little bit saucy. She is unfailingly entertaining to watch and possesses an attractive and remarkably accurate voice. One would suspect she would make an excellent Zerbinetta or Queen of the Night. This is a singer to keep an eye and ear out for, as I suspect we’ll be seeing a lot of her in years to come.
      Antony Lias, Opera Britannia
      Elena Xanthoudakis is a splendid Lisa, singing and acting the role to perfection.
      Tully Potter, Classical Source
      No sooner had the curtain lifted than Lisa (Elena Xanthoudakis), in a fit of wedding envy, was reaching up into the stratospheric heights in self-pitying Bridget Jones moaning […]. Xanthoudakis continued to offer a first-class vocal slalom throughout.
      Igor Toronyi-Lalic, The Arts Desk
      Elena Xanthoudakis’s Lisa, Elvino’s former lover, was magnificently pure of voice.
      Colin Clarke, Seen and Heard International
      He (Michele Pertusi) was well paired with Elena Xanthoudakis’ Lisa, whose garish outfits and opportunistic flirtations create moments of whimsical humor. The slightly spiky tone to her voice is effective in characterising the bitterness of the role, without making her an overly unsympathetic character.
      Sascha Morton, WhatsonStage
    • Guillaume TelL, Accademia di Santa Cecilia BBC Proms
      July 2011

      Elena Xanthoudakis as Tell’s beleaguered son Jemmy amply projected the character’s essential vulnerability, while supplying the vocal heft needed in the testosterone-drenched ensembles.
      Roger Parker, Opera Magazine
      Elena Xanthoudakis was very good in the trouser role of Tell’s loyal son, Jemmy.
      Jim Pritchard, Seen and Heard International
      Elena Xanthoudakis, in the en travesti role of his son Jemmy (she was trouser-clad, in case we hadn't read the small print), were reliable in ensembles in the first half of the opera, while Xanthoudakis shone as much as the part allowed in the short solo passages later on.
      Flora Willson, Musical Criticism
      Elena Xanthoudakis was the best of the women, her bright soprano and direct manner ideal for the role of Jemmy.
      Melanie Eskenazi, Music OMH
      Elena Xanthoudakis as Tell’s beleaguered son Jemmy amply projected the character’s essential vulnerability, while supplying the vocal heft needed in the testosterone-drenched ensembles.
      Roger Parker, Opera Magazine
      EMI CD: An exceptional Jemmy from Elena Xanthoudakis
      Robert Osbourne, Gramophone Magazine
    • Lucia di Lammermoor, Opera de Quebec
      May 2010

      The soprano Elena Xanthoudakis, has given a captivating and clever incarnation of the title role that she was singing for the first time. Skilfully going from naivety to madness, the singer amazed and touched us at the same time with her sincere performance and her bright and light soprano voice.
      Emmanuel Bernier, La Presse.ca
    • Guillaume TelL, Accademia di Santa Cecilia
      Otober 2010

      On the womens side, Elena Xanthoudaki is a well-defined Jemmy.
      Francesco Rapaccioni, Teatro.org
    • Satyagraha, English National Opera
      February 2010

      Elsewhere there are impressive performances from Elena Xanthoudakis as Mrs Schlesen.
      Laura Battle, WhatsonStage
      Elena Xanthoudakis as his secretary creates some glorious textural contrast with her ringing soprano.
      Alexandra Coghlan, Oxford Times
      The high soprano of Elena Xanthoudakis, who plays Miss Schlesen, his secretary, adds a silvery edge to the slowly shifting vocal ensembles.
      Andrew Clements, The Guardian
    • L’elisir d’amore, Scottish Opera
      September 2009

      Soprano Elena Xanthoudakis is a sheer delight as Adina, colouring every sung moment with refreshing clarity and agility or, where called for, plaintive reflection.
      The Scotsman
      Giles Havergal must have thought he had died and gone to directorial heaven when the new cast for his second revival of Donizetti’s opera dropped on him….they look the part, they act the part, they sing the part and vitally, they ARE the part… The singing is very stylish with Elena Xanthoudakis’s shining soprano voice floating Adina’s coloratura line weightlessly.
      Michael Tumelty, The Herald
      Elena Xanthoudakis's Adina is a beguiling combination of regal hauteur and playful coquetry.
      Rowena Smith, The Guardian
      Elena Xanthoudakis, making her Scottish Opera debut was as perfect an Adina as one could hope to hear. Hers is a beautiful, clear, agile coloratura soprano, capable of executing some of the more difficult vocal writing penned by Donizetti with insouciant ease, as well providing a lilting and tender sweetness to everything else. The lower register is in marked contrast to the top, with almost Callas-like dark inflections creeping into the timbre.
      Anthony Lias, Opera Britannia
      Elena Xanthoudakis made a fantastic company debut as Adina, demonstrating absolute security and confidence with every aspect of the tessitura and showcasing flawless bel canto style at every turn. Her tale of Tristan and Isolde and her duets with Nemorino and Dulcamara carried conviction and deep emotion together with a tremendous vocal presence. She is definitely one I’ll be looking out for in the future.
      Simon Thompson, Seen and Heard International
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