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.
Ms. Caballero recently made a series of house débuts, including Staatsoper Stuttgart as Mimi in La bohème, The Palacio de Bellas Artes in Mexico City as Desdemona in Otello, Teatro de la Zarzuela in Madrid singing the title role of the European premiere of Cecilia Valdés based on the Cuban novel of the same name. 2020 engagements were to include a return to Staatsoper Stuttgart for Boito’s Mefistofele, Mahler’s 8thSymphony for Pacific Symphony, Verdi’s Requiem for Portland Symphony, the Metropolitan Opera for their production of La Traviata, and her role début as Tosca.
Last season, Caballero joined Stadttheater Klagenfurt as Amelia in Un ballo in Maschera, performed Mimi in La bohème at the Seiji Ozawa Music Academy, and the Countess in Madison Opera’s Le nozze di Figaro. This season, she joins Oper Bern as their Tosca, sings the title role in Florencia en el Amazonas with Nashville Opera, and brings her celebrated Mimi in La bohème to Fort Worth Opera. [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.”
"...one 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.”