Alexander GELLER Tenor


In the season 2022/23 the German tenor returns as DANILO in ‘Die Lustige Witwe’ to the Karlsruhe State Opera. He already enjoyed great success here in the season 2021/22 as TASSILO in ‘Gräfin Maritza’ , just as well as at the Seefestspiele Mörbisch.

22/23 he also sings TASSILO at the Volksoper Vienna and at the Dortmund Opera House, MAX in ‘Der Freischütz’ at the Hagen Theatre and EISENSTEIN in ‘Die Fledermaus’ in a new production at the Dresden State Operetta.

Recently, he was TASSILO at the Dortmund Opera, and EISENSTEIN in a new production of ‘Die Fledermaus’ of the Staatsoperette Dresden.

Recently, Alexander Geller knew great successes as EISENSTEIN at the Opera House Graz, and at the International Music Festival Gut Immling and sang BELMONTE in ‘Die Entführung aus dem Serail’ at the Danish National Opera.

Before, he was BARON FRITZ in 'Die Großherzogin von Gerolstein' at the Opera House Halle, MAX in 'Der Freischütz' at the Dessau Theatre, the 1st STRANGER in 'Der Vetter aus Dingsda' in Detmold. He also sang numerous concerts with the Vogtland Philharmonic Orchestra and the Thüringen Symphonic Orchestra.

In the season 2016/17 he impressed as MAX in 'Der Freischütz' , ERIK in 'Der Fliegende Holländer' and ARNDT in Korngold's opera 'Der Ring des Polykrates' at he Heidelberg Theatre. He enchanted the audience as MR X in 'Die Zirkusprinzessin' in his Austrian debut at the Opera House Graz. He returned here in the season 2017/18 as CARAMELLO in 'Eine Nacht in Venedig'.

Guest engagementslately brought Alexander Geller to the Kaiserslautern Theatre as JONTEK in 'Halker' and to the Magdeburg Theatre as SYMON in 'Der Bettelstudent'. He jumped in for an indisposed collegue as FERNANDO in the dress rehearsal of LA FAVORITA at the Deutsche Oper Berlin.
In this very role, he earlier knew great successes at the Cottbus Theatre, where he had a permanent engagement, performing such roles as ALFREDO in 'La Traviata', the KNIGHT HUGO in 'Undine', RUGGIERO in 'Alcina', COUNT TASSILO in 'Gräfin Maritza' or BELMONTE in 'Die Entführung aus dem Serail. He covered Jonas Kaufmann as the KING'S SON in Engelbert Humperdinck's 'Königskinder' at the Zürich Opera House.

From 2010 to 2014 Alexander Geller was a permanent member of the Mecklenburg Municipal Theatre, where he portrayed RODOLFO, the DUCA DI MANTOVA in Verdi's 'Rigoletto', SOU-CHONG, FENTON in 'Die lustigen Weiber von Windsor', the 1st ARMOURED MAN and the 1st STRANGER in 'Der Vetter aus Dingsda'.
In productions from Christoph Hagel, the good-looking tenor sang a.o. the title roles in Mozart's 'La Clemenza di TITO' and Haydn's 'ORFEO ed Euridice' at the Berlin Bode-Museum. Here, he also performed in Mozart's 'Apollo und Hyacinth' and was FERRANDO in 'Cosi fan tutte'

Alexander Geller started his musical education with Evelyn Dalberg, Stefan Adam and Otto Hieronimi. Later, he was teached by Ralf Willershäuser and Michael Rhodes. Master classes brought him to Monika Pick-Hieronimi, Ivan Anguélov and Ludwig Baumann. Hist first concert engagements brought him to the Verbier Festival and the Salzburg Festspielhaus under the musical direction of Wolfgang Seeliger. Alexander Geller also was ODOARDO in 'Ariodante' at the Händel Festival Halle.

First engagements took him as TASSILO in Kalman's 'Gräfin Mariza', as ZAREWITSCH in Léhar's operetta, as PRINCE FALLING STAR in Künneke's 'Frau Luna', as VITEK in Janacek's 'The Makropulos’ Case' and as CHEVALIER in Poulenc's 'Le Dialogue des Carmélites' to the Gera-Altenburg Theatre.

Alexander Geller is finalist of the 7th International Singing Competition of Wagner Voices 2012 and semi-finalist of the 51th . Francisco-Viñas-Singing-Competition 2014.

His debut as JANEK PRUS in 'The Makropulos Case' at the Dijon Opera was cancelled due to the COVID 19 pandemic

In 2022 he sings his first MARTIN VON DIERCKSEN in 'Oceane' at the Bremerhaven Theatre.


Theater Hagen - Der Freischütz - MAX
And as also Alexander Geller as Max has a technically impeccable , perfectly guided tenor voice, the E-flat-Major trio in the second act ( with its intially c-moll clouding: How? What? Fright?) becomes one of the highlights of this evening.
OPERNWELT 4/ 23, Jürgen Otten
Guest singer Alexander Geller was invited to sing the role of Max. With his clear and powerful, lyrically grounded tenor voice he sings a youthful Max.
Der Opernfreund
Theater Dortmund – Gräfin Maritza – GRAF TASSILO
Alexander Geller in the role of count Tassilo, unhappy at the beginning to triumph over all social constraints in the end. The tenor, born in Hagen, was totally convincing. Both vocally and as an actor. Especially in the sentimental, very popular songs, which Kálmán has composed for Tassilo, Geller shows his huge operetta experience, which truly enthralled the audience. No wonder, Maritza just had to fall in love with this Tassilo! In one word: a perfect Tassilo. The spectators at the premiere thought so too. Also Alexander Geller became a well-deserved applause.
Staatstheater Karlsruhe - Die lustige Witwe - DANILO
Among the soloists Alexander Geller as Danilo was particularly outstanding. He presented himself as an experienced operetta tenor, who perfectly mastered the genre both vocally and scenically.
Badische Neueste Nachrichten
Stadttheater Bremerhaven - Viktoria und ihr Husar – STEPHAN KOLTAY
With Marcin Hutek (John Cunlight) and Alexander Geller (Stefan Koltay), both Victoria’s husbands were perfectly casted. Geller not only succeeded in singing with a powerful, tenor voice with a particular brilliance in the high registers, he was also able to vocally stand up to Heiberg , so that the Bremerhaven House could theoretically cast every opera with these two artists.
OPERNGLAS 03/2022, M.Lehnert
Visually, Alexander Geller is a good-looking Stephan Koltay, revealing the brokeness of his character with his dynamical tenor voice.
Badische Staatsoper Karlsruhe - Gräfin Mariza - TASSILO
And last but not least: Alexander Geller as Count Tassilo! Geller delivered a world class performance. He sang the not at all insignificant part of Count Tassilo with a one of a kind voice, perfectly mastering all aspects that make an operetta so extremely difficult. A real humdinger! My compliments!
Opera Gazet
Alexander Geller is just the perfect cast for the role of Tassilo, visually and because of his timbre..
Badische Neueste Nachrichten
A least we have a perfect Tassilo on stage. Alexander Geller (guest singer), who captivates with his slender, clear tenor voice, is a brilliant Tassilo both vocally and as an actor.
Die Rheinpfalz
How marvelously light his voice caries, secure in the high registers, melodious, nuanced and so sadly sighing, that it is only cut out by the gipsy with his violin...
LR Online
Oper Graz - Die Fledermaus - EISENSTEIN
An excellent cast that fulfilled all the heart’s desires, at least musically speaking… Alexander Geller was an elegant and vocally secure Eisenstein.
Der neue Merker 11/2019 - Walter Nowotny
Alexander Geller was an elegant, vocally secure Eisenstein, who wasn’t allowed to show any Viennese charm.
Der Opernfreund
Alexander Geller as Eisenstein was the personified man flu. He would surely have deserved to sing his own aria, having a voice that shows the ideal timbre for tearjerkers.
Musikfestival Gut Immling – Die Fledermaus - EISENSTEIN
The nouveau riche rake Eisenstein was portrayed by Alexander Geller with plwnty of enthusiasm and tenoral brilliance.
Joachim Dracke, ORPHEUS 05/2019
Theater Dessau - Der Freischütz – MAX
In the role of Max the guest performer Alexander Geller, a versatile tenor, who has already sung a.o Tassilo („Gräfin Mariza“) in Mörbisch and Caramello („Eine Nacht in Venedig“) in Graz. He has no problem with the direction’s platitudes or with the requirements of the part. He has a slender tenor voice with a present tone and brilliant “squillo” , capable of perfectly articulating and performing the dialogues.
Online Merker
Musiktheater Halle – Die Herzogin von Gerolstein - FRITZ
… soldier Fritz (perfectly casted with Alexander Geller).
Die deutsche Bühne
Theater Hof - Der Fliegende Holländer - ERIK
Alexander Geller as Erik makes no secret of the fact that he belongs to the new, young Wagner singers…... Opernglas 11/2017
Opernglas 11/2017 D. HIrschel
And then there is Alexander Geller’s Erik: an astonishing, both powerful and lyrical voice, a first class performance, which turns the other outsider in the maritime society into the third, tragic figure he actually is. But seldom becomes so clear as in this performance.
Der Opernfreund, Frank Piontek, Oktober 2017
Stadttheater Heidelberg – Der Ring des Polykrates - ARNDT
And Alexander Geller with his fantastic tenor voice was the ideal cast.
Opernglas 7/8, 2017
Heidelberg Theatre - Der Freischütz - MAX
Alexander Geller, slender and lanky with a rich voice full of nuances and expression succeeded in compensating the hollow goings-on of the precise portrayal. It was only because of this evocatively present, always concentrated actor, the director's concept could convincingly be realized.
Opernwelt 5/2017 - Hans-Klaus Jungheinrich
With plenty of tenoral expression Alexander Geller excellently sings and plays Max.
Mannheimer Morgen
The young dramatic tenor Alexander Geller is on his way to become a real heldentenor, because he already succeeds in combining his melodious timbre with vocal power.
Der neue Merker
Oper Graz - Die Zirkuspinzessin - Mister X
'Oppulently and confidently Alexander Geller (Mister X) sang the ?two enchanted eyes" . In my opinion, his voice could have been a little more mellow. But considering his smart phrasings and the warm vocal timbre, both in the medium and the high registers, that is just a tiny objection. '
'Alexander Geller as Mister X/ Prince Korossow/ Fedja Palinski is the fallen hero, who filled this evening with great pleasure and sweet suffering. With his dazzling, crystal-clear tenor voice, he thrilled the audience all through the evening.'
Der neue Merker
'And on top of this, the piece was performed by an ensemle that could hardly be more exquisite. One can hardly imagine a better cast for the demanding role of Mr. X as Alexander Geller. He has a clearly timbred tenor voice, yet with enough metal in it. Secure in the heights it has the necessary glaze for operetta roles. Already after his brilliantly sung opening aria („Zwei Märchenaugen“) he was rightly cheered by the audience. Moeover, he is very good-looking and athletic, which make him predestined for the role of a circus athlet, here wih a black mas and a zorro cape. In Heidelberg the german tenor sings this season Max in „Der Freischütz“, Erik in „Der fliegende Holländer“ and Wilhelm Arndt in Korngold's „Ring of Polykrates“. One doesn't have to be a prophet to see this singer has a brilliant future lying ahead of him. The Vienna Popular Opera can only dream of such a tenor.'
Der neue Merker
Kaiserslautern Theatre - Halka - JONTEK
„...but the young tenortTenor Alexander Geller. His portrayal of the bondsman Jontek, one of Halka's desperate admirers, is shockingly credible, creating more than once a evening highlight. .“
„...and the fantastic tenor Alexander Geller as Jontek is one of the vocal winners of the evening.“
Die deutsche Bühne
„The metal in his tenor voice is perhaps not to the liking of everyone (to mine it is!), but it perfectly suits the role and shows some fabulous facets and a lot of emotion.“
Der Opernfreund
„But the real star was the young tenor Alexander Geller. Unpretentiously, with a subtlle intrpretation of the passionately loving Jontek he soon entered the hearts of the audience. His clearly timbred, brilliantly guided voice gives way to all vocal facets, giving vent to his feelings and carrying away the amazed listener. Geller convinces by the fervour of his portrayal and the impeccable guidance of his never weakining voice. What a joy!.“
„But who convinced most was Alexander Geller as Jontek, unhappily in love with Halka: ein lyrical tenor with a flexible and light, effortlessly sounding voice. This young tenor is sure to go far. . „
„The most popular figure of the evening was Alexander Geller as the bondsman Jontek, not just due to his role. With his musical perception and his perfectly guided, youthful tenor voice, which slightly tends to the Heldentenor repertoire, he gave an outstanding performance, being rightly celebrated by the audience. .“
Der neue Merker
Opernhaus Cottbus - La Favorite - FERNAND
Star of the evening was undoubtedly the young tenor Alexander Geller, meanwhile a permanent member of the Cottbus ensemble. He is a real spinto-tenor in all aspects, absolutely ideal for this rtepertoire with his light high registers and his smooth elegance.
„ A great tenor-surprise - Alexander Geller (Fernand) seems to be at ease in such parts, full of high notes. He has a wonderful melodiousness and also a dramatic attack in the securely guided, colourful voice. ."
Orpheus Magazin, January/February 2016
Alexander Geller as the young hero Fernand: a brilliant powerfull light voice, strong breath and brilliant high registers and lyrical intensity. Also in acting he was the star of the evening. Making us mewlt away.
Lausitzer Rundschau
Theater Cottbus - La Traviata - ALFRED GERMONT
'The good-looking tenor Alexander Geller wa a perfect cast for Alfred Germont. He played the easily inflammable young man, who comes from the countryside to the big city, wondering and naive, somewhat clumsy and with an enchanting charme. He succeeded in expressing vocally his excitement about meeting the beautiful Violetta.'
'Alexander Geller, a highly fortunate gain for the Cottbus ensemble, brings sportive agility and above all an "Italian" tenor voice, the kind every aufience and opera director can only dream of: powerfull, brilliant, flexibly metallic.'
Lausitzer Rundschau
'Alexander Geller convinces as Afredo, above all in portraying a gentle and passionate lover...'
Märkische Oderzeitung
Theater Cottbus - Gräfin Maritza - TASSILO
'Alexander Geller, a rather new member of the Cottbus ensemble, performed brilliantly and adequated to the difficult role of Tassilo - Hits like „Komm Zigan“ oder „Grüß mir mein Wien“ he presented consistently.'
' ... the owner of the second noble voice of the evening, Alexander Geller. He is the unhappy, but hardworking estate manager Belá Törek alias Graf Tassilo, proud, elegant tuxedo wearer. How beautifully light is his voice: carrrying, secure, melodious, nuanced and terribly unhappily sighing... '
Lausitzer Rundschau
Theater Neustrelitz - Der Graf von Luxemburg
'One last time he shines with his voice and his charisma, which in partcular regularly pleases the ladies. The cheers at the final applause were well deserved.'
Theater Neustrelitz - Der Konsul - MAGADOFF
'In a fascinating way Alexander Geller, as magician, succeeds in magically breaking up and establishing the recognition that there is no spell against bureaucracy.'
Stadttheater Bremerhaven – Victoria und ihr Husar – STEPHEN KOLTAY
Photo: Heiko Sandelmann
Badische Staatsoper Karlsruhe – Gräfin Mariza – TASSILO
Photo: Felix Grünschloß
Oper Graz - Die Fledermaus - EISENSTEIN
Oper Graz - Die Fledermaus - EISENSTEIN
Oper Graz - Die Fledermaus - EISENSTEIN
Festival Gut Immling - Die Fledermaus - EISENSTEIN
Theater Hof - Der Fliegende Holländer - ERIK
Theater Hof - Der Fliegende Holländer - ERIK
Theater Heidelberg - Der Freischütz - MAX
Theater Heidelberg - Der Freischütz - MAX
Oper Graz - Die Zirkusprinzessin - Mr. X
Theater Neustrelitz - DER ZAREWITSCH
Theater Cottbus - La Favorite - FERNAND
Theater Cottbus - La Favorite - FERNAND
Theater Cottbus - La Favorite - FERNAND
Theater Cottbus - Die Entführung aus dem Serail - BELMONTE
Theater Cottbus - Die Entführung aus dem Serail - BELMONTE
Opernhaus Cottbus - La Favorite - FERNAND
Staatstheater Cottbus - La Traviata - ALFREDO
Der Graf von Luxemburg
Der Konsul - MAGADOFF
La Boheme - RODOLFO
Gräfin Maritza - TASSILO