“If not restrained by decorum, I would have been shouting to convey how deeply moved I was by Alexa Frankian’s simple, unaffected, beautifully sung Mimi.” — SAN FRANCISCO CLASSICAL VOICE “Singing in a voluptuously rich Russian… the powerfully focused soprano Alexa Frankian and tenor Giorgi Guliashvili gave an expansive meditation on God, nature and the universe in a duet from Tchaikovsky’s Iolanta, performing with a radiant, surging sense of purpose.” — SAN FRANCISCO CHRONICLE “Another pivotal personage in this opera is Madame Lidoine, the New Prioress, here taken by budding spinto soprano Alexa Frankian. Lidoine arguably has the most beautiful music to sing, her last act aria, Mes filles, voilà que s’achève an absolute highlight. Frankian has the vocal chops to do it justice”. — LUDWIG VAN TORONTO “After Blanche, perhaps the most complex role is Mme Lidoine. It’s not flashy and it’s psychologically extremely complex. Portraying that is a challenge and it’s well met by Alexa Frankian. One thing the ladies all have in common is that while their music isn’t flashy it isn’t easy either and doing justice to it and to the character development is demanding. They all rise to it.” — OPERA RAMBLINGS “It can’t be easy for a young artist to play an older woman, but Alexa Frankian was entirely convincing — and I mean that in a good way.” — LUDWIG VAN TORONTO “Alexa Frankian makes the most of the Older Woman; who you can take as hilarious or rather pathetic as you choose. She manages both”. — OPERA RAMBLINGS “Of the four works, Ice Time was the most enjoyable… It featured two of the best voices of the evening, with top vocal honours to soprano Emma Pennell as the reluctant figure skater. Also very fine was soprano Alexa Frankian as the Coach and Mother. While billed as a comedy, I find the piece quite thought-provoking”. — LUDWIG VAN TORONTO “First up was Ice Time by Ka Nin Chan and Mark Brownell… It’s a pretty light hearted piece and it got a lively and credible account from Emma Pennell as the daughter and Alexa Frankian as the mother”. — OPERA RAMBLINGS
