Press: Stage

The Merry Widow | Scottish Opera

...the Danilo of one’s dreams.... (OPERA MAGAZINE)

The Money Man / 74º North | Five:15 | Scottish Opera

“In an evening of distinguished vocal performances the stand-out, for me, was tenor Alexander Grove, who stole the limelight as the geeky Steve in The Money Man and produced singing of “Mad-scene” proportions in 74° North.” (SEEN + HEARD INTERNATIONAL)

Don Ramiro | La Cenerentola | National Finnish Opera

Nuoren brittitenorin Alexander Groven olemus sopii romanttisen ramiro ruhtinaan rooliin. Lyyrinen ääni on sangen kaunis. (HELSINGIN SANOMAT, FINLAND)
English tenor Alexander Grove is the essence of the romantic prince Ramiro. His lyrical voice is very beautiful. (HELSINGIN SANOMAT, FINLAND)

Magnus Gabriele de la Gardie | Cristina Regina di Svezia, Foroni | Vadstena Akademien

"The performance was high class... But even more impressive was Alexander Grove in the role of Magnus Gabriel de la Gardie..."   (DAGENS NYHETER, SVERIGE)
And the soloists!!....Alexander Grove as Magnus Gabriel de la Gardie, velvety soft as Kristina’s favourite and Maria's lover.....All the soloists were just as convincing in both the subtle lyricism as in the powerful scenes that fully struck the public. They in turn rewarded them with calls of “bravo”, lengthy applauses, whistles, stamping of feet and standing ovations. (MOTALA TIDNING, SVERIGE)

Le Nos | Shostakovich | The Opera Group / Royal Opera House 2

"Alexander Grove... was outstanding in the title role...." (MANCHESTER EVENING NEWS)
"The Nose itself was quite terrifyingly, and literally, man-sized in a striking performance by tenor Alexander Grove...  The singing was of an extremely high standard. The beauty of the sounds made the scenes all the more eerie, and it was sung with confidence and conviction.” (PRIMI DIVI)
When he goes to the cathedral and finds his disembodied nose (grown to a man's height and hilariously bedecked as a senior government official with pink feathers in his hat) snogging with the Icon figure (Alexander Grove and Sinead Campbell) he is, quite understandably, confused. It is a side-splittingly funny moment -- one of the best I've ever enjoyed in the theatre. (DAVID WILKINS, M&V)

Dottore | The Jewel Box | Mozart | Bampton Classical Opera

Thus, the audience in St John’s, Smith Square were treated to a veritable operatic feast, as a superlative cast swept through a musical sequence illustrating every operatic genre, vocal style, character-type and dramatic mood from the world of eighteenth-century theatre - ranging from courtly grandeur to low-life farce, from the sublimely tragic to the surreally comic....intrigued by the cynical machinations of The Dottore (Alexander Grove, who sang with athletic power and dramatic conviction)... the audience was presented with an ever-accomplished, dramatically aware performance, which exemplified the best in Classical opera. (QUEEN'S NEWS)
Of the two tenors... Alexander Grove,, was very effective as the Dottore. (PRIMI DIVI)
Yet musically Bampton served up a scintillating evening...Kay and Grove are both fine singers, and she negotiated her middle range as adeptly as he did his two sweeping, characterful arias. (OPERA MAGAZINE)

Graf von Zedlau | Wiener Blut | Strauss | Clonter Opera

...Alexander Grove (the Count) was excellent... and made light of the demands of this difficult tenor role. (MUSICAL POINTERS)

Chinese Man | Fairy Queen | Purcell | Armonico Touring Opera

Alexander Grove and William Towers completed a first-class, impeccably rehearsed cast. (OPERA NOW)

Remendado | Carmen | Bizet | Stowe Opera

Alexander Grove is a talent: a singer well worth casting directors looking out for. Also ex-Royal Northern College -- what a breeding ground Manchester is -- he sang Peter Quint for them, chillingly enough, and a confident Chekalinsky during the all-male build-up in their celebrated The Queen of Spades. Grove also made a particularly vivid impact as Clonter Opera's Eisenstein (Die Fledermaus) last season: he has quite a gift for keeping a show moving. The voice is an interesting one and sounded pretty impressive here as a fairly gangsterish El Remendado. More importantly, he's a presence: the brisk arrival at Lillas Pastia's, the unpleasantly mock-courteous 'Mon cher Monsieur' (to Escamillo), the almost cynically functional coating-up of the two lead robbers ('terrorists'?) and chorus in preparation for departure to the mountains, and the threatening, collar-up, gaunt figure of Remendado at rear on guard set against an almost Caspar David Friedrich landscape, all contributed to the subliminal sense of danger and threat, so integral an ingredient in good productions of this fateful opera. With his sharp features and dark brow, Grove can do threat rather well. He, too, may be a future Hermann, and in due course, if not cosy and lyrical enough for Britten's Essex -- a future Aschenbach, surely -- or even a tormented Captain Vere. (RODERIC DUNNETT: MUSIC & VISION)

Walking Not Driving / Mahagonny Songspiel / Trouble in Tahiti: The Opera Group / Royal Opera House 2

...and Alexander Grove was simply brilliant... (THE TIMES)

Eisenstein | Die Fledermaus | Strauss | Clonter Opera

All ten of the cast, full of character and in good voice, deserve credit.. Alexander Grove's Eisenstein is enjoyably spirited and Claire Surman's Rosalinde has real style. (MANCHESTER ONLINE)

Peter Quint | Turn of the Screw | Britten | RNCM

Alexander Grove's Quint was a triumph, superbly sung, looking the part to perfection and exuding danger with every gesture. (OPERA MAGAZINE)
Not a single gesture or facial expression fails to make its mark. Alexander Grove (Quint), in particular, played this to his advantage. His first appearance was electrifying, not only because of his stunning command of all those long, insinuating melismas, but also because he looked and behaved exactly like the kind of evil yet hypnotic figure that so entrances Miles. (THE GUARDIAN)
"Risky as it is to say so, I do wonder if I have seen a more chilling performance of Peter Quint than that by Alexander Grove.  Not only, and most importantly, did he sing well - Pears-like ghostly melismas - but he looked the part to perfection: 'his hair was red, close-curling', as the libretto says, and dangerously handsome, with the scars of his death on the icy road still showing on his forehead and with a nameless allure to suggest any kind of depravity.  He was violent to his victim Miss Jessel." (THE SUNDAY TELEGRAPH)
Rebekah Coffey almost steals the show... However, this honour is left to Alexander Grove's Quint, which is suitably eerie, magnificently menacing, supremely crafted and utterly unforgettable. (MANCHESTER ONLINE)
Alexander Grove was every bit as good as expected. (MANCHESTER EVENING NEWS)

Chekalinsky | Pique Dame | Tchaikovsky

In this powerful production of a dark and uneven opera, Alexander Grove, the 2001 Anne Ziegler Award winner, who received acclaim for his Bajazet in the college's production of Tamerlano last Dec, sang Chekalinsky, and again deserves acclaim. (THE MANCHESTER CHERIVARI)

Bajazet | Tamerlano | Handel

"...incisive, as the Turkish prisoner, the defeated emperor Bajazet (a sterling performance from Alexander Grove), finally frees himself from the tyranny of the Tartar ruler Tamerlano." (THE INDEPENDENT)
Alexander Grove as Bajazet was hugely powerful and gripping, particularly in his death scene in the last act - Daily Post (DAILY POST, MERSEYSIDE)
Also outstanding was the tenor Alexander Grove as sultan Bajazet. (MANCHESTER EVENING NEWS)
Alexander Grove, as the imprisoned Sultan Bajazet, showed a light tenor voice that easily transmitted the Handelian style, projected with special success in the famous death scene. (THE GUARDIAN)
But the Royal Northern College of Music's breathtaking Studio Theatre version of Handel's Tamerlano, given almost a year ago, was always the one the others had to beat.  Classical opera with the immediacy of TV drama, combining musical excellence and superb acting, it was revelatory.  And so the RNCM wins, for the second year in succession."   (MEN Theatre Awards 2002 Winner: Best Opera)