La Traviata, Florentine Opera

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Soprano Elizabeth Caballero delivered a marvelous Violetta, the courtesan, on Friday. She was animated, communicative and believable, singing with a big, facile, focused sound while making the vocal demands of the role seem easy and natural.

She also was fearless onstage, playing the final scenes in a pale, disheveled, haggard state that lent reality to the illness that was about to claim her.

Elaine Schmidt, Milwaukee Journal Nov 9, 2013

The centerpiece is the wonderful Elizabeth Caballero. Her Violetta is technically assured, and both musically and dramatically compelling. Her famous scene at the close of act one captures the psychological subtlety of the moment—the nuanced character writing Verdi at which Verdi excelled. This is a woman of passionate intelligence searching deep to examine her life.

PAUL KOSIDOWSKI Milwaukee Magazine 11/11/2013

Elizabeth to receive Distinguished Alumni Award at Festival Miami

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Elizabeth is very excited to announce that she is going to be the recipient of the 2013 Frost School of Music Distinguished Alumni Award from the University of Miami.  The award will be presented to her on October 18, 2013 during a recital at Festival Miami.  Joining her for the recital will be mezzo-soprano Robynne Redmon and baritone Kevin Short accompanied by Elaine Rinaldi at the piano.  This will be Festival Miami’s 30th anniversary.  Info and tickets can be found here.

Elizabeth to make her debut in La traviata with Pacific Symphony

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Violetta, Madison Opera 2011

Elizabeth as Violetta in Madison Opera 2011

In February, Elizabeth will travel to Santa Ana, California to sing Violetta in a semi-staged production of La traviata with the Pacific Symphony.  This will be her debut with the company and marks her return to the state of California.  She will be sharing the stage with another Cuban-America tenor Rolando Sanz as Alfredo and baritone George Gagnidze as Germont.  The production will be lead by A. Scott Perry and conducted by music director Carl St. Clair. For tickets and more information, click here.

Elizabeth Caballero conquers in Santo Domingo

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Anna, Santo Domingo 2013

Santo Domingo, 2013

This past month, Elizabeth made her debut in the Dominican Republic singing the title role in The Merry Widow.  The performances at the National Theater in Santo Domingo were extremely well received by the public and the press alike.

La viuda alegre conquista al público en el TN
“la reconocida soprano cubano-americana Elizabeth Caballero, en su papel de Ana Glavari, la viuda, quien logró cautivar a los presentes con su hermosa, impostada y muy entonada voz, quien por momentos cautivaba hasta el alma más fría. Por ejemplo, en el segundo acto, el más trabajado y elaborado de todo el espectáculo, al interpretar la  “Canción de la Vilia”. No hay dudas: fue el punto más luminoso de toda la noche.”
El Caribe
28/8/2013
The Merry Widow conquers the public at the National Theater
 “the renowned Cuban-American soprano Elizabeth Caballero, in the role of Ana Glavari, the widow, who captivated the audience with her beautiful imposing voice and pitch perfect intonation, who in moments could captivate even the coldest soul. For example, in the second act, the most worked and elaborated act, in interpreting the “Vilja’s Leid”. There’s no doubt it was the brightest highlight of the whole night.”
El Caribe
8/28/2013
Click here for the entire review

Elizabeth Caballero’s Merry Widow debut

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Elizabeth will be traveling to Santo Domingo in August to perform a spanish version of The Merry Widow (La Viuda Alegre) in which she will perform the title role.  This is an exciting debut for Elizabeth, who was born in Cuba, as spanish is her native tongue.  In addition, this also marks her debut in the country of Dominican Republic. Performances will take place August 23rd and 24th at Teatro Nacional Eduardo Brito de Santo Domingo.

Highlights of Elizabeth Caballero’s 2013-14 season

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The 2013-14 season marks several exciting debut’s for Elizabeth.  In September/October she will make her company and role debut  in Virginia Opera singing Alice Ford in the Verdi masterpiece,  Falstaff.  Late October she will travel to Miami to perform in the prestigious Festival Miami, known as Florida’s premier live music festival, hosted by her Alma Mater University of Miami Frost School of Music.  During the recital she will be presented with the 2013 Distinguished Alumni Award.  Rounding off the month of October she will travel to Milwaukee to perform the title role in La traviata with Florentine Opera.  This will be her second time performing with the company, the first being in the role of Donna Elvira in Don Giovanni.  In November, Elizabeth will make a much anticipated role, company, and country debut as she will travel to Brazil to perform the role of Anne Trulove in Stravinsky’s The Rake’s Progress with the Brazilian Symphony Orchestra.  Spring will bring Elizabeth to Hawaii Opera Theater to make her company debut in a double bill of one of her signature roles, Nedda in Leoncavallo’s Pagliacci and the scenic cantata, Carmina Burana by Carl Orff.

Check this page for further updates.  Detailed performance dates can be found on the Schedule page.

Elizabeth Caballero’s Donna Anna debut broadcast

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Madison Opera will be broadcasting their opening night performance of Don Giovanni on Saturday, May 25th at 12:00PM Central time.  This was Elizabeth’s debut in the role of Donna Anna which opened to great reviews for her and the entire cast including Maestro Joseph Mechavich.  The Daily Page said of her performance, ‘a voice of tremendous power, but it’s one that can be used with a range of nuances.’ If you live in the Madison area, tune in on WPR 88.7 FM to listen.  To listen online, simply click here – stream online

Elizabeth Caballero’s successful return to Seattle Opera

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In February, Elizabeth made her return to Seattle Opera in the role of Mimi in La bohème.  She had previously debuted with the company in Le nozze di Figaro in the role of Susanna.  For her return as Mimi, she received great reviews which included from the Seattle Times, ‘ElizabethCaballero, pouring forth a stream of glorious tone…’  and from The Stranger, ‘Elizabeth Caballero has literally one of the finest voices I’ve ever heard…’.  The production, directed by Tomer Zvulun,  also received favorable reviews as well as the rest of the cast.  The performances were conducted by Maestro Carlo Montanaro.  This La bohème also bears more significance in that it is part of long time General Director Speight Jenkins final season with Seattle Opera.  Elizabeth will be returning to Seattle Opera in the near future.  For updates, check this page or follow her on Twitter or Facebook for further updates.

La boheme, Seattle Opera

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Elizabeth Caballero has literally one of the finest voices I’ve ever heard, crushing the men onstage with a booming, elastic vibrato that dominates McCaw Hall. Imagine the world’s creamiest, richest vanilla custard—now imagine that as a serenade. The only drag about La Bohème is that Caballero is not singing constantly throughout the show.

Dominic Holden, The Stranger 2/27/13

Caballero’s Mimi was as warm and touching as her voice was stunningly radiant and crystal-clear. She is one of those rare sopranos without a hint of stridency, even at full throttle. The audience loved her, with a few shouts of “Brava” from the audience during the performance and a quantum leap in applause over that bestowed on the other singers.

Maggie Larrick, Queen Anne News, 2/27/13

Cuban soprano Elizabeth Caballero, pouring forth a stream of glorious tone, showed us more of the character’s inner strength…

Bernard Jacobson, The Seattle Time, 2/26/13

Madama Butterfly, Lyric Opera of Kansas City

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Giacomo Puccini’s “Madama Butterfly” is fraught with heartache and tragedy, but the most poignant moment of the Lyric Opera’s opening-night performance came not during the opera itself, but at the curtain call. Soprano Elizabeth Caballero, who had just delivered a stunning performance in the title role, sank to her knees in tears as the audience at the Kauffman Theatre rose to its feet. She had never performed the demanding role before and had been nervous about taking it on. But after her inspiring debut as the tragic heroine she may have felt like an enormous weight had been lifted.
Anyway you cut it, this was a personal triumph for Caballero, because after the final curtain her crystalline voice — delicate yet powerful, passionate yet controlled — is what lingers most vividly in the one’s memory.

Robert Trussell, Kansas City Star, 9/16/12