"...an exquisite performance by countertenor Alexander Chance, who sang Vivaldi's Stabat Mater with crystalline diction and detailed attention to the text"
Melanie Eskenazi, musicOMH, September 2024
"Mr Chance once again produced a gorgeous flow of beautiful countertenor singing...he was given free rein by Vivaldi to show us the extent of his range and interpretative skills, and the ovation at the end suggested he had succeeded"
Brian Bannatyne-Scott, Edinburgh Music Review, September 2024
"Surely now at the absolute peak of his abilities...in precision and detail, from the notes on the score through inspired ornamentation to perfect Latin diction, Chance was flawless on repertoire by Vivaldi and others who made their name in the Vienna of the 18th century"
Keith Bruce, VoxCarnyx, September 2024
"The countertenor Alexander Chance's luminous Es ist vollbracht stilled the hall"
Neil Fisher, The Times, August 2024
"Alexander Chance's first solo, "Von den Stricken meiner Sünden", was very urgent and wonderfully definite, with fabulous oboe playing. His second aria, "Es ist vollbracht" featured Chance's lovely, melancholy tone and superb line, creating a highly expressive yet never fussy performance. Chance gave it a directness which worked well in this hall."
Robert Hugill, Planet Hugill, August 2024
"Tenderly shaped, full of fine shading, the pivotal “Es ist vollbracht” from Chance boasted a Handelian pulse of inner drama…"
Boyd Tonkin, The Arts Desk, August 2024
"Alexander Chance’s countertenor proved to be something special as it epitomised the performance as a whole in being strong, and yet beautifully and delicately poised"
Sam Smith, musicOMH, August 2024
"a lonely viola da gamba joined Alexander Chance’s expressive countertenor in haunting duet"
Erica Jeal, The Guardian, August 2024
"The countertenor Alexander Chance, as the gold-suited Voice of Apollo, shone visually and vocally"
Fiona Maddocks, The Observer, March 2024
"Alexander Chance, resplendent in a gold suit as Apollo, is lucid and clear"
Richard Fairman, Financial Times, March 2024
"Alexander Chance's golden Apollo shines literally and vocally"
Nicholas Kenyon, The Telegraph, March 2024
"Alexander Chance dazzles in voice and appearance as a gold-suited Apollo"
Richard Morrison, The Times, March 2024
"...countertenor Alexander Chance's strong, flowing tone bringing an otherworldly dimension to the Voice of Apollo"
The Stage, March 2024
"Countertenor Alexander Chance sang exquisitely as an aptly other-worldly Apollo, resplendent in a gold suit..."
Mark Valencia, Bachtrack, March 2024
"...we find an outstanding vocal performance by Alexander Chance as the Voice of Apollo, successfully channelling a bit of the otherworldly"
Opera Scene, March 2024
"As soon as he opened his mouth to sing, pure honey poured out...Alexander has a voice that speaks clearly and mellifluously throughout the registers and every note was poised and meaningful. Even in a big auditorium like the Usher Hall, he had no difficulty whatsoever reaching to the furthest corners"
Edinburgh Music Review, January 2024
"Of the soloists...it was counter-tenor Alexander Chance who really shone. The clarity and precision of his singing, both quietly and at volume, and his immaculate articulation demonstrate a talent in full bloom. His ornamentations were never excessive and included a distinctive skill in small glissandi. Set pieces like He Was Despised at the start of Part 2 were magnificently measured."
VoxCarnyx, January 2024
"Chance masterfully articulates the declamatory wording of these songs so beguilingly that the allegedly unmusical English language (because it is rich in consonants) can effortlessly compete with the musical eloquence, even enchantment, of Italian"
Opernwelt, August 2023 (review of "Drop not, mine eyes")
"Alexander Chance was mesmerising in the Agnus Dei, singing with line, intensity and focus"
Planet Hugill, June 2023
"Chance stakes serious claim to the title of his generation's most exciting British countertenor"
Alexandra Coghlan, Gramophone Magazine (review of "Drop not, mine eyes"), June 2023
"With his pure, silky timbre and impeccable vocal line, Chance captures the sensual, melancholic and tender character of these songs quite perfectly"
Pizzicato (review of "Drop not, mine eyes"), June 2023
"...the countertenor Alexander Chance, son of one of the leaders in this line, the mythical Michael Chance; his beautiful timbre, with wide resonances throughout the range, was at the same level as an impeccable singing line, full of expressiveness and passion. A true revelation."
Antoni Colomer, Operá Actual, April 2023
"The performance of countertenor Alexander Chance...his delicate expression and the purity of his timbre, drew a standing ovation from the audience"
Carme Miró, Sonograma, April 2023
"...the countertenor Alexander Chance, a worthy successor to his father in the same position, the mythical Michael Chance, who since his first appearance in "Buß und Reu" demonstrated some excellent qualities, due to the clarity of his voice, his silky timbre and his generous projection, signing his contributions with an anthological Erbarme Dich, mein Gott"
Juan José Roldán, El Correo de Andalucía, April 2023
"Two voices stood out...that of the countertenor Alexander Chance, with precision, tuning and fleeing from any artifice"
Mario Muñoz Carrasco, Beckmesser, March 2023
"But perhaps the biggest solo surprise of the night was that of the magnificent young countertenor Alexander Chance, who was responsible for some of the most beautiful interventions, which he masterfully resolved. His voice is full of breadth despite its purity, with excellent projection and resonance, and he sings with spectacular feeling, technique and delicacy"
Manuel de Lara, Scherzo, March 2023
"The Alto Alexander Chance succeeded most impressively in formulating (the arias of the St Matthew Passion's) emotional content vocally. Supported by the obbligato instruments, he achieved touching moments"
Christoph Wurzel, bachtrack, March 2023
"Chance...provides the best diction of the night and doesn't only sing with accomplishment and musicality but uses the music to make a dramatic point. I look forward to him ascending the peaks of this repertoire"
Patrick Shorrock, Mark Aspen, February 2023
"As the scheming Tolomeo, Alexander Chance is satisfyingly sinister"
Inge Kjemtrup, The Stage, February 2023
"The best singing in this cast is from Susana Hurrell and Alexander Chance as the siblings Cleopatra and Tolomeo...Chance is able to present the role as a welcome helping of comedy"
Gavin Dixon,The Arts Desk, February 2023
"...Chance delivered plenty of flavourful, idiomatic singing, packed with character and colour sustained through long, firm lines and...invigorating vocal drama...Chance's sculpted, sensuous alto lines threatened to steal the show..."
Boyd Tonkin, The Arts Desk, November 2022
"...and Alexander Chance’s ringing and true ‘Es ist vollbracht’ – a fitting match for his father’s memorable account in Gardiner’s first recording.''
Jonathan Freeman-Attwood, Gramophone, March 2022
"...the clarity of diction and purity of tone of counter-tenor Alexander Chance must be mentioned."
Grayshott concerts, February 2022
"...the duet of Mulroy and Alexander Chance in Auf dem Gebirge was outstandingly eloquent..."
Nicholas Kenyon, The Daily Telegraph, 28th December 2021
"Oberon was sung with absolute confidence and textual clarity by Alexander Chance, in what was his stage debut"
George Hall, Opera News, 19th July 2021
"Alexander Chance, making his stage debut as Oberon, is also in lustrous voice, and sounding on his enchanting first appearance like a young James Bowman. Vocally superb, Chance sings with wonderfully clean projection, clear-as-a-bell diction and faultless intonation in the sinuous lines of ‘I know a bank’.
David Truslove, Opera Today, 4th July 2021
"Alexander Chance and Samantha Clarke glitter as supernatural Oberon and Tytania."
Richard Fairman, Financial Times, 29th June 2021
"His Oberon was, from the moment he first appeared, a wondrous creation, tall, slim, mesmeric in (his) use of stillness, hauntingly beautiful in the arias and confident in the complexities of Britten's vocal writing."
Robert Hugill, Planet Hugill, 29th June 2021
"Oberon and Tytania were charismatic rulers of the spirit world, Alexander Chance’s pure countertenor and clear diction creating an authoritative “Captain of this fairy band”
Roy Westbrook, bachtrack, 28th June 2021
"Alexander Chance and Chris Darmanin are natural fits as Oberon and Puck"
Richard Morrison, The Times, 26th June 2021
"Alexander Chance has a beautifully strong voice; engaging, powerful, a voice I would like to experience live."
Colin Clarke, Seen and Heard International, April 2021
"...the harrowingly soothing, wonderfully phrased sounds of Alexander Chance"
Jens Klier, bachtrack, April 2021
"the fresh-faced, ethereal-sounding countertenor Alexander Chance"
Hugh Canning, The Sunday Times, April 2021
“Countertenor Alexander Chance, who is the son of renowned singer Michael Chance and seems likely to rival his father’s reputation.”
Hugh Kerr, The Wee Review, 21st May 2019
“The young counter tenor Alex Chance already has all the qualities of precision and homogeneity that made his “Es ist Vollbracht” a moment of intense meditation”
Philippe Ramin, Bachtrack, 15th April 2019
“The tingly fresh sound of Alex Chance contrasted beautifully with the sonorous viola da gamba in ‘Es ist Vollbracht’”
Martin Toet, Place de l’Opera, 13th April 2019
“There was some very fine singing particularly from countertenor Alexander Chance and sopranos Caroline Weynants and Zsuzsi Töth…”
Christopher Corwin, Parterre Box, February 19th 2018
“…His interpretation of the beautiful aria O thou that Tellest good Tidings to Zion was masterful in all its aesthetic attributes. He left his mark of spontaneous and natural excellence…”
José Antonio Cantón, Comunidad Valenciana, 23rd December 2017
“…the heavenly countertenor Alexander Chance”
César López Rosell, El Periódico, 28th December 2017
“Alexander Chance, counter-tenor, gave a very sensitive performance with total clarity and perfect diction especially in the 6/8 lilt of “O thou that Tellest good tidings to Sion” and in his searingly moving “He was Despised.”
Lark Reviews, March 13th 2016