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

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London based Australian soprano Alexandra Oomens is a recently appointed Harewood Artist with English National Opera. She is a graduate of the Royal Academy Opera Programme at the Royal Academy of Music, and is an alumna of the Georg Solti Accademia.

At ENO this season, she sings the roles of Josephine in HMS Pinafore and Pepik/The Woodpecker in The Cunning Little Vixen, covering the title role and also Despina in Cosi fan tutte.

In 2021, Alexandra performed the titular role of Dafne in Cavalli’s Gli amori d’Apollo e di Dafne with Pinchgut Opera in Australia. Earlier in the year Alexandra performed with L’Orchestre de Chamber de Geneve as Laurette in a televised semi-staged production of Bizet’s Le Docteur Miracle. Just prior to COVID-19 cancellations, she performed the role of Barbarina with Opera North in their production of The Marriage of Figaro.

Further operatic performances include Zerlina Don Giovanni (Clonter Opera), and with the Royal Academy Opera: The Vixen Cunning Little Vixen; title role Semele; La Princess and La Chauve-Souris L’Enfant et les sortileges; Laurette Le Docteur Miracle; Tina Flight; Cupidon Orphée Aux Enfers; and Damigella L’Incoronazione di Poppea. She has performed regularly with Pinchgut Opera, with roles including: Isabelle L’Amant Jaloux; Lisel The Chimney Sweep, Alinda Giasone; Childerico Faramondo; and 2nd Lady and 1st Witch Dido & Aeneas. She has also sung Clizia Teseo (London Handel Festival).

Alexandra has performed as a soloist with the Australian Chamber Orchestra, Netherlands Radio Symphony Orchestra, Sydney Symphony Orchestra, Eroica Ensemble, and the Orchestra of the Antipodes. In recital she has performed in such works as Bach’s Easter Oratorio, and Telemann’s Die Donner Ode (Pinchgut Opera), Exsultate, Jubilate (Amersham Festival of Music), Jauchzet Gott in Allen Landen and Coffee Cantata (Canberra International Music Festival), Bach’s B Minor Mass (Song Company), and Vivaldi’s Gloria (Gondwana Choirs).

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

Haydn, Creation

Canberra International Music Festival / Australian Haydn Ensemble (April 2022)

The undisputed vocal star of the evening was soprano Alexandra Oomens. (…) Oomens is a real star to watch for, engaging and glamorous on stage, equally at home in Janáček operatic roles and oratorio performances. Pitch-perfect, she has a clear and light, ringing tone, even in all registers.”

Vincent Plush, Limelight

“The three vocal soloists were superlative, dramatically adept and musically excellent. (…) Alexandra Oomens sang an engaging archangel Gabriel with a nimble coloratura, and silken legato through her range. The love duet between Adam (Ioelu) and Eve (Oomens) was pure flirtatious fun. Oomens’ ecstatic ornamentation portrayed an Eve breathily besotted with Adam who matched her sentiments with rapture and a twinkling eye.”

Shamistha de Soysa, Sounds like Sydney

“Soprano Alexandra Oomens was a delight with impeccable attack and intonation. For me a little bit of magic came when in Part III she explored some different tonal colours in O thou, for whom I am !”

Alan Holley, classik ON

“Of particular note was the final extended duet between Adam and Eve. In yet a more subtle example of tone painting, Haydn gives a distinctly folkish, and less operatic, character to the duets between Adam and Eve, than to those featuring the archangels. Yet Haydn embellishes simple phrases such as ‘fragrant bloom’ with sinuous melismas that traverse vast swathes of the soprano range in the space of a few seconds. This was precisely the sort of thing that Oomens seizes upon with a certain deftness, and never faltering to a screech (…).”

Aryan Mohseni, State of the Art

HMS Pinafore (Alexandra Oomens)

English National Opera, HMS Pinafore (Josephine), 29 Oct - 11 Dec 2021

"Australian soprano Alexandra Oomens is especially impressive, singing with a new-found amplitude, ringing top notes in both her arias, and riding the chorus magnificently in the Act I finale. Not only that, her diction is immaculate. She’s not just feisty, she’s genuinely funny."

Clive Paget, The Limelight Magazine

"Musically it’s very fine [...] Thomas and Oomens are lovely in their duets and arias."

Tim Ashley, The Guardian

“Elgar Llŷr Thomas and Alexandra Oomens ooze charm and sweet lyricism”

The Times, Richard Morrison ****

“Alexandra Oomens is scintillating as Josephine”

Culture Whisperer, Claudia Pritchard ****

Oomen’s numbers ‘Sorry Her Lot Who Loves Too Well’ and ‘The Hours Creep On Apace’ in particular show off her stunning voice, which fills and delights the gigantic auditorium”

Musical Theatre Review

“Young artists Elgan Llŷr Thomas (Ralph Rackstraw) and Alexandra Oomens (Josephine) sing the socks off the central love-story”

Alexandra Coghlan, The Independent ****

“The best music is for Josephine, with Alexandra Oomens a bright and impressive soprano whose powerful aria “A simple sailor” echoed Mozart’s Countess."

Nicholas Kenyon, The Telegraph

​ Cavalli The Loves of Apollo and Dafne (Dafne, Aurora)

Pinchgut Opera (May 2021)

Alexandra Oomens’ Dafne a shining young woman of fortitude and bright intelligence… Oomens doubles up spectacularly as the super-sexy Aurora, easily seducing Procris’s husband Cefalo… For Dafne, Oomens takes a firm, single-minded approach to the music up until Dafne’s melting end, and for Aurora her delectable soprano takes on all manner of seductive colours.

Deborah Jones, Limelight Magazine****

But it was the women who shone. Both Alexandra Oomens – the only cast member brought home from overseas for the show – as a scarlet Aurora and a green Dafne…

Jeremy Eccles, Bachtrack*****

Alexandra Oomens, as the licentious Aurora and the chaste Dafne, has a voice of untarnished smoothness with a joyous, youthful blush to the sound; her final note, poised at the top of a ladder after deciding to turn into a tree, had lingering beauty.

Peter McCallum, The Sydney Morning Herald****1/2

The young sopranos Alexandra Oomens and Stacey Alleaume gave the opera its heart and its most shining singing. Oomens made Dafne a woman of fortitude and bright intelligence while doubling spectacularly as the super-seductive Aurora

Deborah Jones, Opera Magazine

​ 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****

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

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