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

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Elena Xanthoudakis

Soprano

  • The most vibrant portrayals are those of deliciously-observed and sumptuous-voiced ugly sister duo Elena Xanthoudakis and V. Yaravaya.
    The Stage
  • Elena Xanthoudakis is a splendid Lisa, singing and acting the role to perfection.
    Classical Source
  • Delius's Seven Danish Songs ... were sung with generous ardour by Elena Xanthoudakis.
    The Observer
  • 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 kicks off the 2013-14 in the role of First Niece Peter Grimes at Academia Nazionale di Santa Cecilia under the baton of Sir Antonio Pappano. She then travels to Australia for a return appearance at Opera Queensland as Gilda in Verdi’s Rigoletto. Later she returns to the United Kingdom for concert and recital performances which also take her to the rest of Europe. 

    Recent successes include her return at English National Opera as Pamina Die Zauberflöte, her appearance at the Royal Festival Hall with the Royal Philharmonic Orchestra for Carmina Burana and performances of Mozart’s Requiem with the Melbourne Symphony Orchestra. Highlights also include her debut at Glyndebourne Festival Opera as Clorinda La Cenerentola, her appearance with Louis Langrée in Beethoven’s Mass in C and a concert tour in her native Australia to promote her ensemble’s CD release ‘The Shepherd and the Mermaid’, TrioKROMA (piano, voice and clarinet). She appeared on the opening night of the BBC Proms 2011 with Antonio Pappano and Accademia di Santa Cecila in the role of Jemmy Guillaume Tell, previously recorded during performances in Rome. She sang the roles of both Lisa and Amina La Sonnambula at the Royal Opera House, Covent Garden, conducted by Daniel Oren. She further appeared in New Year’s concerts with Scottish Chamber Orchestra and Nicholas McGegan.

    Other past appearances include her Canadian debut at Opéra de Québec in the title role of Lucia di Lammermoor, her appearance as both Euridice and Genio in a production of Haydn’s L’anima del Filosofo for Pinchgut Opera that was released on CD in 2011 and Frasquita Carmen at Royal Opera House, Covent Garden, in performances over several seasons that culminated in an International 3D cinema release and two DVDs; Miss Schlesen Satyagraha at English National Opera (2007 and 2010), Marzelline Fidelio at Brighton Festival with Orchestra of the Age of Enlightenment and her first engagement at Metropolitan Opera, New York, as cover Countess Adele Le Comte Ory.

    Originally a flautist, Miss Xanthoudakis studied music at the University of Melbourne, the London Guildhall School of Music and joined the young artist programme of Maggio Musicale di Firenze, Italy. Elena has received a Solti Foundation Grant as well as many first prizes in competitions including the Maria Callas Grand Prix, the Salzburg International Mozart Competition and Third Prize at Operalia amongst her most significant achievements, and is currently a Borletti-Buitoni Trust artist.

    Miss Xanthoudakis is frequently called to the concert platform as a soloist by the world’s most eminent orchestras in repertoire that includes Beethoven’s Ninth Symphony, Rossini’s Petite Messe Solennelle and Stabat Mater, Bach’s Missa Brevis, B Minor Mass, St.John Passion, St. Matthew Passion, Christmas Oratorio and a variety of cantatas, the Requiems of Fauré and Mozart, Handel’s Messiah and Jeptha, the Glorias of Vivaldi and Poulenc, Mozart’s Exsultate Jubilate and The Four Last Songs of Richard Strauss.

    Other roles in the artist’s repertoire include Adina L’elisir d’amore, Blonde Die Entführung aus dem Serail, Krista The Makropulos Case (English National Opera, released on CD by Chandos with Sir Charles Mackerras), La Contessa di Folleville Il viaggio a Reims, Xenia Boris Godunov, Lady Ella Patience (BBC Proms), Pamina Die Zauberflöte, Ann Truelove The Rake’s Progress, Constance Dialogue des Carmélites, Dalinda Ariodante, Matilde Matilde di Shabran, Ismene Mitridate, Micaela Carmen, Dido Dido and Aeneas, Iris Semele and Amor Orfeo ed Euridice.

    • 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
    • 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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