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The New York Times describes Elizabeth Caballero as a “plush-toned, expressive soprano” and The Wall Street Journal exclaims that “Ms. Caballero is a find: her opulent soprano rings freely and lyrically throughout her range.” Ms. Caballero’s dramatically compelling interpretation of her signature role, Violetta in La traviata, led to recent engagements to perform the role for houses across the country, such as The Metropolitan Opera, Opera Carolina, la Compañía Lírica Nacional in Costa Rica, Florentine Opera, Madison Opera, Pacific Symphony, and the Orlando Philharmonic.

This season, Caballero joins Stadttheater Klagenfurt as Amelia in Un ballo in Maschera, performs Mimi in La bohème at the Seiji Ozawa Music Academy, and the Countess in Madison Opera’s  Le nozze di Figaro. Last season’s engagements included returns to Staatsoper Stuttgart as Cio-Cio San in Madama Butterfly, Florida Grand Opera as Blanche in A Streetcar Named Desire, and Madison Symphony for their Christmas Gala Concerts. Further concert engagements were as the soprano soloist in Bruckner’s Te Deum and Beethoven’s Symphony No. 9 for the Colorado Symphony. In 2024, Caballero will be seen performing the lead role of Florencia en las Amazonas. [read more...]


"...[Caballero's] performance brought her to a new level as a powerful singing actress." – South Florida Classical Review

A Streetcar Named Desire – "Caballero’s traversal of Blanche’s Act II narrative of discovering that her former husband was gay and his subsequent suicide was overwhelming in its emotional impact. Her soft repetition of the play’s famous final line “I have always relied on the kindness of strangers” proved heart wrenching. Caballero even managed a plausible Southern accent. This talented soprano’s performance brought her to a new level as a powerful singing actress."


"...plush­toned, expressive soprano..." – The New York Times

Florencia en el Amazonas – “The cast was excellent, starting with the plush­toned, expressive soprano Elizabeth Caballero as Florencia”


"...making the vocal demands of the role seem easy and natural..." – Milwaukee Journal

La traviata – “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.”


" of those rare sopranos without a hint of stridency, even at full throttle..." – Queen Anne News

La bohème – “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.”


"...sufficient range, power and control..." – The Spokesman Review

Verdi’s Requiem – “Although hearing her in the role of Musetta gave us a chance to enjoy the beauty of Caballero’s voice, we had only glimpsed a fraction both her vocal and dramatic range until Saturday night, when she showed herself to be a Verdi soprano – one of sufficient range, power and control to mine the deep veins of tragic pathos found in all of Verdi’s heroines. Her reading of the Libera Me, capped by a stratospheric octave leap to the last syllable of “Requiem” will live long in the memories of all who heard it.”



Vanessa Uzan


Adrienne Boris


Colin Michael Brush

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