Hailed as “a force of nature”, soprano Alexandra Wiebe is known for her dramatic intensity and stamina. Alexandra kicks off her 2026/ 2027 season by debuting with Opera Company of Middlebury appearing as Annina in Verdi’s La traviata and the leading lady Berta in the U. S. premiere of Xavier Montsalvatge’s Babel 46. She then returns to the Wagner in Vermont Festival as a Flowermaiden in Parsifal while also covering Senta in Der fliegende Höllander. She then makes principal role debuts with St Petersburg Opera in their double bill of The Medium and Voices from the Other Side as Mrs. Gobineau and Antonia respectively.

She began her 2025/ 2026 season by making her Wagnerian role debut with the Wagner in Vermont Festival as Gutrune while also covering Brünnhilde in Der Ring des Nibelungen. She then sings the roles of Großmutter and Frau B in the U. S. premiere of Ella Milch-Sheriff’s Baruch’s Schweigen at the Muffled Voices Festival and revisits Humperdinck’s Hansel and Gretel, this time as the Witch, with the Little Orchestra Society. In the new year Alexandra joins Sarasota Opera as a Studio Artist to cover the title roles in Carlisle Floyd’s Susannah and Franz Lehár’s The Merry Widow, featuring the premiere of a new translation. She will also be featured in concert during her time with Sarasota Opera in excerpts from Pagliacci, Così fan tutte, Carmen, and La rondine. She closes out the season by returning to Pagliacci as Nedda with Opera Magnifico and singing excerpts from Die Walküre as Sieglinde at West End Church NYC.

In the 2024/ 2025 season Alexandra returned to Cedar Rapids Opera to sing Madame Pompous in Edwin Penhorwood’s Too Many Sopranos, as well as performing excerpts from Verdi’s Otello as Desdemona. Afterwards, Alexandra made her role debut as Nedda in Pagliacci with the Pittsfield Players at the Scenic Theatre and joined Opera Southwest to sing the title role in the modern premiere of Carlo Coccia’s Matilde. She then made her third appearance with Cedar Rapids Opera as Ježibaba and the Foreign Princess in their outreach production of Rusalka, and returned to Symphony Pro Musica as their soprano soloist for Villa-Lobos’ Bachianas Brasileiras No. 5. She closed out the season by joining Central City Opera as an Apprentice Artist, covering Wife 1 in Aleksandra Vrebalov’s The Knock and appearing in the ensemble of Once Upon a Mattress.

Alexandra began her 2023/ 2024 season by joining the Highlands Opera Studio as a professional fellow where she performed a self-directed production of La voix humaine. She returned to the New England Conservatory to make her role debuts as Giunone in Francesco Cavalli’s La Calisto, Rosalinde in Die Fledermaus, and Vera Tyrrell in the workshop premiere of Mark Adamo’s new opera Sarah in the Theatre. She was also featured in concert with Boston Singers’ Resource, The Cleveland Opera, and the NEC Liederabend Series. She was a Smith Young Artist with Cedar Rapids Opera where she performed in their production of Tosca and was featured in recital. Finally, Alexandra covered and rehearsed Alban Berg’s Sieben frühe Lieder with Symphony Pro Musica.

Previous seasons saw Alexandra perform as Donna Anna (Don Giovanni), Alice Ford (Falstaff), Krysia (Out of Darkness: Two Remain), Gerhilde (Die Walküre), Mimì (La bohème), Mother (Amahl and the Night Visitors), Lady Billows (Albert Herring), Female Chorus (The Rape of Lucretia), Fiordiligi (Così fan tutte), Mrs. Gobineau (The Medium), Gertrude (Hansel and Gretel), Vera Donovan (Dolores Claiborne), La Blanche Aline (Les aventures du roi Pausole), and Benjamin Cardin (The Gonzales Cantata).

An avid competitor, Alexandra has been regcognized by the John Alexander National Vocal Competition, the Young Patronesses of the Opera Vocal Competition, New Hampshire Opera Idol, Musicians Club of Women, The American Prize, the Nouvelles Étoiles International Competition, the Music International Grand Prix Competition, and the Carolyn Bailey Argento Vocal Competition. 

Alexandra holds degrees in Opera Performance and Biochemistry from Northwestern University and the New England Conservatory where she studied under Theresa Brancaccio and Bradley Williams. In addition to maintaining an active performance schedule, Alexandra is extremely passionate about voice science. She currently serves as the primary data analyst for research being done at Northwestern University that unites vocal pedagogy with biomedical engineering. Alexandra is a published scientific author and her work can be read here.

Off stage, Alexandra can generally be found playing with her doodles (Fergus and Archie), purchasing large quantities of artisanal butter, or absorbed in a surrealist short story collection. She is currently based in New York City.