Alexandra Silber sounds simply gorgeous as Maria. Her performance is thoughtful, naturally phrased, tremulous with emotion, and colored with a natural shimmer that sounds lusciousand communicates directly. Silber and Jackson really connect, too; their stretch of dialogue when Maria and Tony meet at the gym is convincing and thoroughly gripping. In “Tonight,” they weave musical-theater magic. Silber eases slowly and tentatively into the beginning, as a young girl might, while Jackson’s more headstrong Tony drives the tempo forward. When they sing in unison, her silken legit soprano and his bright theatrical tenor meet in a sweet spot in the middle, and the deal is sealed. Their transfixing “One Hand, One Heart” is even better: it has historic, ageless weight. The vocals are pure and perfect, and with Tilson Thomas’s supremely controlled pacing, time seems to have stopped.
— Opera News
With Cheyenne Jackson and San Francisco Symphony

With Cheyenne Jackson and San Francisco Symphony

Alexandra Silber’s “Maria” was spectacular, unforgettable. Outfitted in what Maria would totally describe as the prettiest dress at the Dress Shop, Alexandra owned Davies Symphony Hall with her first line, “I feel pretty. Oh! So pretty!” The song and her story were absolutely brand new. MTT had summoned-up Leonard Bernstein. I will be first in line for this recording.
— The Hufftington Post
Do we need another recording of “West Side Story” performed by a full symphonic orchestra? Absolutely when it’s this one, taken from live performances in 2013 that Michael Tilson Thomas conducted with the San Francisco Symphony at the orchestra’s home hall. The cast, led by Alexandra Silber as Maria and Cheyenne Jackson as Tony, who bring youthful ardor, beguiling voices and dramatic immediacy to their roles, is ideal. This is a nearly complete version of Bernstein’s score, with lyrics by Stephen Sondheim. The symphonic richness of the playing is an asset. But even better is the stylish naturalness and clarity that Mr. Thomas draws from the players, and the inspired cast.
— Anthony Tommasini for The New York Times
Alexandra Silber is the definitive Maria. Her rich and clear soprano voice is so nice to come home to. It is the pure sound of Classic Modern – ringing and open, free of dull commercial trends. Alexandra’s rendition of “I Feel Pretty” is the jewel in the crown of this exquisite recording. Throughout the scene with her friends at the dress shop – she conveys Maria’s innocence, her simple glee over a new frock, and the blossoming passion she feels for a pretty wonderful boy.
— The Huffington Post
There are no weak links in the cast, but Alexandra Silber stands out within an embarrassment of riches. Her pure, crystalline soprano voice could have been made for Maria. Her spoken dialogue and accent are just about perfect. It is not hard to appreciate that she is also an excellent singing actress. The voice is tonally pure and pitch-perfect, and she also has enough power as she operati- cally soars over the ensemble in the electrifying quintet (in my opinion, the highlight of the score).
— Arthur Lintgen for FANFARE
[Cheyenne Jackson’s] performance is well matched, even out- done, by the gorgeous singing of Alexandra Silber (listen to how well they blend on their high As at the end of the Balcony Scene). Silber is an excellent actress, too, conveying the trajectory of Maria’s emotional development with astonishing depth.
— Peter J. Rabinowitz for FANFARE
Alexandra Silber: The fastest-rising soprano in musical theatre...the firestarter for getting the Broadway world re-acquainted with its ‘legit sound’ — the same crystal clear, open voice that Leonard Bernstein would have heard in his first ‘Maria...
— The Huffington Post
Singing with unaffected charm and clarity, two young musical theatre performers, Alexandra Silber and Cheyenne Jackson, embody all the ardour of Maria and Tony’s young love without grandstanding pomposity ... This is a recording that will blow your socks off. 5 STARS.
— The Telegraph
To hear Silber’s growth in her role – from the initial purity of her first encounter with Tony to the far more shaded wisdom of her character at the end of Act 2 – is one of the marvels of this live performance.
— The Arts Fuse, Boston
Bernstein’s score has never sounded more vital, more full of brilliance and heart....And it’s such a pleasure to hear the delicate underscoring of some dramatic scenes, most especially the balcony scene between Tony (Cheyenne Jackson) and Maria (Alexandra Silber) when they profess their love for one another...They do a marvelous job, and Silber especially, with a soaring soprano and a light touch, emerges as a real star.
— Bay Area Backstage
As Maria, Silber accounts for several highlights on this recording. Her gleaming, peach-pure soprano lends sweetness and sexiness to the romantic duets...
— MusicWeb International
...the equally [to Cheyenne Jackson] attractive Silber: her beautiful, clear soprano was a joy. Silber’s straight, pure high tones are certainly the envy of many an early music soprano, and her ability to add vibrato at the end of phrases in idiomatic Broadway fashion was an additional asset. Much of her performance provided the heart...
— San Francisco Classical Voice


(BBC Proms at Royal Albert Hall with The John Wilson Orchestra)

Alexandra Silber, leading the cast as Lilli Vanessi/Katherine, was the stand-out of the evening, though. Critically acclaimed for her recent performance as Maria in the San Francisco Symphony’s West Side Story, Silber brought a similar range and passion to this part. Her “I Hate Men” had the audience gasping and applauding by turns, her “So In Love” was tender and touching, and the way she threw flowerpots at Davis’s head was truly magnificent.
— New Statesman
And boy was she hot. American actress Alexandra Silber made her into a force of nature, leaping on chairs or throwing them around, and storming up to the balconies or down among the Prommers. In the song I Hate Men, she started fortissimo and got louder, when she thumped Petruccio in the ribs, you could feel the audience wince. 5 STARS.
— The Telegraph
"I Hate Men"

"I Hate Men"

The bonus is that the principal roles, both played by American artistes, are vividly done... Alexandra Silber matches [Ben Davis as Petruchio] blow for blow as Kate, bringing a feral ferocity to I Hate Men and even invests the climbdown of both Shakespeare’s heroine and the hero’s ex with a certain dignity.
— Michael Billington, The Guardian
Silber (right) was incredible, reaching operatic heights and surely larynx-straining bawling for I Hate Men.
— Radio Times
Alexandra Silber’s curled-lip venom in Katharine’s I Hate Men was matched by her sultry delivery of Lilli Vanessi’s So in Love.
— The Evening Standard
The show had a strong cast, with impressive Americans in three of the leading roles ... Rapidly rising star Alexandra Silber gave conviction and real presence to the role of Lilly Vanessi/ Katherine.
— The Arts Desk


(at The Vineyard Theatre)


Ms. Pen’s carefully written but unobtrusive music, and Mr. Lodato’s well-sketched portrait of a young woman beginning to question the beliefs she’s been raised with, are certainly nicely integrated; the music and lyrics mirror each other in mood perfectly. Ms. Pen’s music follows the wanderings of Sara Jane’s mind dutifully and with agility. Ms. Silber gives an impressive, confident and musically lustrous performance. Her soprano has a bright, blooming sheen.
— Charles Isherwood, The New York Times

Sara Jane (played by Silber), who grew up in a military family and describes herself as “weak,” starts off singing about how great her man is, but by the end of this hour-long play she is devastated, having slowly, inadvertently, revealed to the audience the horror of war as she understands it—and, tragically, she understands it intimately.
— The New Yorker
at once vulnerable and forceful, confident and in fine voice for the duration.
— The New York Observer
— Time Out
ENGAGING! Silber has golden pipes and sturdy acting chops and expertly conveys Sara’s shifting state of mind and her sweetness, uncertainty and despair.
— New York Daily News


Master Class, Broadway

Also back [from The Kennedy Center production] is the excellent Alexandra Silber as soprano Sophie De Palma, a young singer who hasn’t counted on being required to act. Silber distills an enticingly original character out of Sophie’s at first eager, then increasingly bewildered and desperate interactions with her teacher. When Sophie suddenly gets the approval she has given up on receiving, Silber’s rendering of her not knowing what to do with it is touching and true.
Silber vibrantly suggests her character’s awe-struck response to Callas—it’s almost like a religious revelation....
— The New York Post
The script indicates that Callas’s first student, Sophie De Palma (Alexandra Silber, in gorgeous voice for her Broadway debut), is meant to be a sacrificial lamb. But while Callas keeps cutting off the poor child before she can get out the first note of her aria, her instructions on character-building are brilliantly incisive and the baby soprano comes out of her grueling tutorial transformed
— Variety

Carousel, West End, London

Carousel, West End, London


London's West End


Los Angles, California

...As Julie Jordan, heartsick wife of the brutally impetuous Billy Bigelow..., Alexandra Silber more than confirms the promise she showed on this same stage a season or two ago as Hodel in Fiddler on the Roof. An American now resident in London, Silber has a creamy soprano that puts one in mind of Broadway’s Audra McDonald. Her dark, burnished looks convey the very reserves attributed to Julie that, presumably, will help see this bereaved mother through an early widowhood. In a city lacking genuine musical stars, Silber by rights is poised to be one...
— International Herald Tribune
Alexandra Silber’s heartbreaking performance is capable of stopping the show...
— The Stage
But Silber as the unlucky heroine boasts a star-is-born quality of absolute naturalness... Silber impressively lives up to the accusation “You’re a queer one, Julie Jordan” making the girl an unsophisticated, shy and heart-felt exception to the prevailing mood of boisterous jollity. This Julie succumbs to James’s Billy, to a brief marriage of violence, bullying, and a thieving mission that goes wrong. She declines in poignant stages...An experience to cherish...
— The Evening Standard
...And it’s only the calm force of Alexandra Silber’s acting, the integrity of her singing and quiet, almost spiritual presence that could persuade us to view [Julie’s] as a legitimate position.

Tall as a reed, mellifluous of voice, facially mesmerising, newcomer Silber is the moral hub of this unmerry-go-round. You hang on her smallest responses..
— The Independent on Sunday
Rodgers and Hammerstein’s greatest musical never needs an excuse for being revived, but the Reprise series has found the perfect raison d’etre in Alexandra Silber, making her American stage debut as a deeply introspective Julie Jordan in “Carousel.” ... which proves to be the near-perfect showcase for Silber’s considerable talents.
... Silber brings an operatic, dramatic heft to her portrayal of a young but full-bodied woman who knows exactly what she wants from the moment she meets her bad-boy lover, carousel barker Billy Bigelow ... Silber gives the show a dark, still center.
— Variety
Alexandra Silber’s Julie Jordan, the girl trapped in a brutal marriage to a man she nonetheless mourns. Silber herself has a rich mezzo soprano voice, and her duets with Jeremiah James’s full-bodied Billy are packed with both longing and disappointment.
— The Indenpendent



(at "Inner Voices")

"Alexandra Silber spends most of her time in “Arlington” sitting at the family piano, primly dressed in a floral print, pearls and a white cardigan, and gradually releasing the anguish behind her repression. Her voice is operatic and filled with emotion; so is this sweet, sobering drama, by Polly Pen and Victor Lodato,

the poignant standout in the latest production in the Premieres series Inner Voices (the others were in 2008 and 2010), an evening of three one-act solo musicals at 30th Street Theater, with minimal sets, unassuming production values and intense introspection.

'Arlington' feels at first like a World War II story, but lines like “She was actually very pretty in a Demi Moore evil princess sort of way” and “You know what I totally love? Chard!” suggest otherwise. Ms. Silber plays a young wife holding down the home front, with increasing amounts of loneliness-filling alcohol, while her husband is away at war. Ms. Pen, the composer of the seductive “Goblin Market” a quarter-century ago, has written music that is haunting even when it claims not to be. And remarkably, Ms. Silber and her director, the superb Jack Cummings III, manage to turn Stephen Foster’s 150-year-old “Beautiful Dreamer” into a powerhouse 11 o’clock number."

-- The New York Times

...Sara Jane becomes a startling shell of her former self, as the loneliness, confusion, and powerlessness become too strong for her to endure.
Lodato and Pen have written a fascinating character study, with each scene peeling off another layer of the woman’s personality, while the music changes in tone from lighthearted and upbeat to dark and dissonant as time progresses. Director Jack Cummings III guides the first-rate Silber through a remarkably nuanced and gorgeously sung performance that ably conveys the mile-a-minute feelings that rush through Sara Jane’s head with reckless abandon. The piece ends with a stunning rendition of Stephen Foster’s “Beautiful Dreamer” that is so thrillingly performed that you’ll be left on the edge of your seat.
— TheaterMania
Inner Voices, a triptych of solo musicals, contains one highly accomplished piece: the middle panel, Arlington, in which the prodigiously gifted Alexandra Silber plays a soldier’s wife with a dawning sense of her husband’s darkness. The splendid smoothness and control of Silber’s soprano works beautifully against her chatty, lonely character’s disintegrating sense of world order; under Jack Cummings III’s dexterous direction, she does full justice to the vivid and shifting colors of Victor Lodato’s words and Polly Pen’s music.
[...] Inner Voices’ clouds are redeemed by their Silber lining, but her solo might be even stronger on its own.
— Time Out


“ ★ ★ ★ ★ ★ Just now and again someone special comes along who is forever bookmarked in your Favourites and you never let them go. In a most unusual and eclectic collection of songs, Silber shows remarkable taste, versatility and sheer depth of musical knowledge that makes quite a change from the standard material offered by many cabaret artists today. What an evening to start September. I doubt there will be anything classier any time soon “ — MUSICAL THEATRE REVIEW

" Just seen the utterly phenomenal Alexandra Silber (@alsilbs) open her season at The Crazy Coqs: a glorious musical night. Not only does she have the most shimmering, sure theatrical soprano this side of Audra McDonald, she also has an authentic spirit. That makes Silber a real one-of-a-kind original; she's hilarious, moving & miraculous sounding -- often all at once! I'm going again!”  — MARK SHENTON, The Stage

"★ ★ ★ ★ ★ One of the extraordinary things about Barbara Cook’s Spotlight Series - now in its fifth year at the Kennedy Center – is that it introduces or reintroduces Washington DC audiences to a diverse array of musical theatre talent – some well-known, while others less-known, but equally impressive and skilled vocalists. As an aficionado of the contemporary musical theatre scene, I was certainly intrigued by the announcement that Alexandra Silber would take part in this series. I knew that the young American made a splash on the West End in such hits as Carousel, The Woman in White, and Fiddler on The Roof, and quite recently debuted at the Kennedy Center in Master Class with Tyne Daly, a show that later went to Broadway, where she reprised her role of Sophie DePalma. All of these things, of course, are impressive feats in their own right.

I didn’t know, until now, that she is not only an extremely talented vocalist that can sing anything from opera to showtunes to pop, but she is also an extremely intelligent, thought-provoking and interesting story-teller.

 The Kennedy Center audience was richly spoiled by her perfect blend of stories, songs, and lessons learned in life. She certainly did not disappoint and neither did the two Broadway musicians that backed her up – Nicholas Archer on piano and Mark Vanderpoel on bass.

    Her solo cabaret act, London Still, explored how the California/Michigan native ended up as a star of the West End stage, the lessons she learned there, and her return to America. Pondering the question of “where do I belong?,” Silber took the audience on a very personal journey filled with songs from musical theatre giants like Jerry Herman, Richard Rodgers and Oscar Hammerstein and John Kander and Fred Ebb, but also contemporary composers like William Finn and Jeff Blumenkrantz. Every song seamlessly moved her story forward, but also treated the audience to some very brilliant singing.

    All of her songs were expertly sung and her emotional connection to the lyrics defied her young age. Given her great skill, it is difficult to pinpoint some highlights of the evening because there were so many. Her “And the World Goes Round,” which started the evening off, was one of the best renditions of the classic Kander and Ebb song I have heard and her strong belt definitely caught my attention because I wrongly assumed that, given the roles she’s played in the past, the evening would be filled with ingénue ballads. She proved me wrong. Likewise, “Typically English” (Leslie Bricusse and Anthony Newley) and “My Book,” (Jeff Blumenkrantz) brought some much needed humor to the evening and showed the audience her light (and sometimes self-deprecating) side.
    “Wherever He Ain’t” (Jerry Herman) and “I Enjoy Being a Girl” (Rodgers and Hammerstein) highlighted her fiery nature and her seemingly natural ability to tell a story with song. The former song from Mack and Mabel has been previously covered by Christiane Noll, and Silber certainly follows in Noll’s footsteps with her enviable versatility. While the latter song from Flower Drum Song has been covered many times before (perhaps too many times) she put her own spin on it, which was most welcome.
    Vocally, Alexandra’s “Ah, Non Credea Mirarti,” (Bellini) which she previously sang in the Kennedy Center’s production of Master Class, was unparalleled. Her strong and highly-trained voice projected to the back of the Terrace Theatre without any amplification. It was a delight to hear all of the rich tones and colors in her voice in all of their natural glory.

    Though the songs were clearly the highlight (it was a cabaret, after all) Silber also lent her creative hand to the evening by sharing some videos that highlight those experiences that shaped who she has become- some of which are rather funny. While I won’t give away all of the details in case readers get the opportunity to witness her cabaret in other venues, I will say that the technological element was not intrusive, but rather seamlessly interwoven into the presentation. In less capable hands, however, they probably would’ve been a distraction.

    All in all, it was a glorious evening and I certainly intend to follow her career as she makes her forays into the American musical theatre scene. American audiences are certainly lucky to have her back.

— Maryland Theatre Guide