“The cast was excellent, starting with the plush-toned, expressive soprano Elizabeth Caballero as Florencia.”
The New York Time – Anthony Tommasini Go to article.
“Among as strong a cast of vocalists as I’ve heard at NYCO in 20 years or more, the standout appropriately was Elizabeth Caballero as Florencia. She flung out her radiant soprano with the generosity of a true diva, but with strength in reserve for her spectacular final aria.”
The Observer – James Jordan Go to article.
“In the title role, Elizabeth Caballero was at times stunning, singing with beautiful passion in the three generous arias that Catán gives her character. The finest of all was the last, when she communes in rapture with the spirit of Cristobal, who we must assume is dead, reaching soaring, Tosca-like heights which she managed with a full, open sound, and gorgeous, long phrases.”
The Classical Review – Eric C. Simpson Go to article.
“The excellent cast is led by Elizabeth Caballero’s Florencia, whose bright, solid, vibrato-filled soprano impresses from her opening seven-minute aria to her closing transformation music.”
Classics Today – Robert Levine Go to article.
“Ms. Caballero is a find: Her opulent soprano rings freely and lyrically throughout her range…”
Wall Street Journal Go to article.
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 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
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
In order for the tragedy to have a proper impact, the audience must love the heroine Mimi as much as the poet Rodolfo does. In her portrayal, soprano Elizabeth Caballero projects the warmth of Mimi’s heart as much as the cold of her hands. She caresses every note, right up to the character’s inevitable yet sweetly poignant death. Rodolfo can cry as much as he wants — if the Mimi is not lovable, the audience will not follow suit. Caballero’s Mimi is, as the text states, “an angel from heaven.”
Kelly Dean Hansen, Daily Camera 7/8/12