Elizabeth Caballero ~ Press


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Elizabeth Caballero's Micaela makes a sweet first impression on "Ma mère, je la vois," a lovely nostalgic duet with Don José. But she shines brightest on her prayerful third act aria, "Je dis que rien ne m'épouvante" ("I say that nothing scares me"), with a fast vibrato and a warm tone.
Wisconsin State Journal - 11/7/2009
Carmen (Madison Opera)
 
The part of Susanna was played by Cuban-American soprano Elizabeth Caballero, who is making her company debut with these performances. She was marvelous!...She has a very rich and beautiful voice, she is quite lovely, and her acting was superb. She and Nicolas Cavallier, who played Figaro, had a lot of stage chemistry and were funny and convincing. She was a joy to watch and listen to-- I was captivated by her. 
Seattle Examiner - 5/15/2009
Le nozze di Figaro (Seattle Opera)
Not less expressive was Caballero, who not only has polished her instrument with an extraordinary richness that allows her to sing Mozart and Ziemlinsky, but she has also developed her histrionic skills.  Her Countess has not yet forgotten the range and the years of her past as a mischievous Rosina, who can be a "viper" but most of all a woman in love.  Her Dove sono was impeccable and without a doubt the best moment of the night.  She rocked the house."
El Nuevo Herald - 3/29/2009
Le nozze di Figaro (Florida Grand Opera)
 
Vocal laurels were taken by Elizabeth Caballero's Donna Elvira...Caballero repeated her poignantly comedic Elvira from the Florentine mounting, her assumption distinguished by rock-solid intonation and notably intelligent handling of recitative.
Opera News Online - 1/2009
Don Giovanni (Nashville Opera)
 
Elizabeth Caballero made an excellent heroine, with a big, rangy, darkly glowing lyric-coloratura instrument capable of precise fioriture and crystalline high D-flats. Not a TV-star-style wraith in today's already tiresome marketing-driven mode, Caballero made a handsome figure onstage, commanding and vulnerable by turns and at all times believably the erotic center of this hothouse world. Alert to text, she aced many tough passages: both "Dite alla giovine" and "Amami, Alfredo" were very moving, and others should gather more interiority as this portrayal grows. In sheerly vocal terms, Caballero's performance already compares quite favorably with today's most heavily promoted Violettas.
Opera News 10/2008
La traviata (Opera New Jersey)
 
Elizabeth Caballero, made the audience wait at length for her to stop swigging champagne before launching into Verdi's famous "Sempre Librera" aria. But she was worth the wait. You don't realize how much you're used to iffy pitch in this aria until it's largely absent, as it was here. Her midweight lyric soprano managed all three acts with equal adeptness
The Philadelphia Inquirer - 7/15/08
La traviata (Opera New Jersey)
 
Caballero reached the heights in the final act. As Alfredo swept the dying woman in his arms, she was no longer merely singing notes or making gestures. She was capturing Violetta's joy and suffering in a voice suffused with death.
Courier Post - 7/14/08
La traviata (Opera New Jersey)
 
Soprano Elizabeth Caballero’s Mimi was wonderful. Her glorious soprano voice captures all the beauty in Puccini’s lovely melodies, especially her Act l aria “Mi chiamano Mimi” (They call me Mimi), which won warm audience applause at its end.  Her robust beauty never convinced as Mimi dying of consumption. However, Caballero’s interpretation was at times, thrilling.
Coral Gables Gazette - 4/17/08
La boheme (Florida Grand Opera )
 
...Elizabeth Caballero, as a touching, resplendently sung Mimi, provided the finest vocalism and fleeting bright moments...has clearly grown into a major talent...makes a pretty and touching seamstress, consistently graceful and credible in her stage movements. She also possesses a glorious soprano voice, gleaming, flexible and evenly produced throughout her range.
The Miami Herald - 4/13/08
La boheme (Florida Grand Opera )
 
Elizabeth Caballero, another excellent Cuban-born soprano, was dramatically convincing as Lisa, her warm, fluidly expressive and agile voice conveying her anguished, sometimes catty jealousy of Amina.
The New York Times - 3/1/08
La sonnambula  (Opera Orchestra of New York)
 
...first rate cast, all up to the challenge of this difficult music...  Equally impressive was Elizabeth Caballero, who has a slightly darker, more dramatic voice and sang the role of her rival Lisa with comparable skill.
Daily News Entertainment Blog- 2/28/08
La sonnambula  (Opera Orchestra of New York)
 
The undisputed star of the night was Caballero as Adina. She dominated the stage when she stepped on it, making it easy to understand how she had bewitched her suitors. Her voice...was fluid, round on the high notes and sparkling throughout the register.
San Antonio Express- 1/2008
L'elisir d'amore (San Antonio Opera)
 
Elizabeth Caballero played Musetta more as a chanteuse than a hussy. A comfortable richness in her tone let her put across her waltz in Act II without stridency, and she seemed to be having a grand time onstage.
Opera News Online - 12/2007
La boheme (New York City Opera)
 
Elizabeth Caballero presented a Musetta who was temperamental but not overdone, with a voice you want to hear more of.

The New York Times - 9/11/07

La boheme (New York City Opera)
 
Elizabeth Caballero was terrific as Elvira, delivering a poignantly underlined comedic interpretation and pinpoint-precise coloratura.
Opera News Online - 2/2007
Don Giovanni (Florentine Opera)
 

For this performance, we were blessed with such a performer, the Cuban soprano Elizabeth Caballero. I wasn't at all surprised that she was so expert, as she dazzled last season... Here she was wonderful...her ever-evolving phrasing making the most of her star turn. When she then dumps that bottle over the head of the smitten Marcello, her voice changes, if only for a moment, to that of the heartless temptress. Lord Harewood once remarked that the genius of "Bohème" is that it laughs while it weeps. This savvy lady caught exactly that poignant mood."

The New York Sun - 9/18/06
La boheme (New York City Opera)

As Musetta, the Cuban-born soprano Elizabeth Caballero provided the evening’s most show-stopping performance with her second-act “Quando men vo,” offering a thrilling balance of pearly tone, exacting technique and brazen physicality.

The New York Times - 9/11/06

La boheme (New York City Opera)

Two singers made their company debuts in this staging, and one, in particular, is a delightful addition to the roster: Elizabeth Caballero, a Cuban-born soprano, was a small, feisty Donna Elvira with a round, warm voice. Ms. Caballero knows how to make an entrance and hold a stage, singing well and not always carefully (which I like), given to little squeaks of indignation in her bristling outrage at the Don, melting into an anguished "Mi tradi" when she is forced to admit that she still cares for him.

The New York Times - 4/1/06
Don Giovanni (New York City Opera)

The voice of the afternoon belonged to the Donna Elvira of Elizabeth Caballero. This Cuban soprano was so commanding that the other voices just melted away. A very strong "Mi tradi quell' alma ingrate" touched off the most enthusiastic applause of the day.

The New York Sun - 3/28/06

Don Giovanni  (New York City Opera)

Soprano Elizabeth Caballero reminded Mobilians precisely why she is much in demand, with a brilliant "E strano! Ah fors'e lui" from "La Traviata" in the first half of the program and "Pace, Pace mio Dio" from "La Forza del Destino" to open the second. Her "Trovatore" duet with baritone David Small, "Mira, di acerbe lagrime," was a show-stopper.

Mobile Register - 9/26/05

Viva Verdi Opera Gala  (Mobile Opera )

She makes an imposing figure on stage, and her powerful instrument can handle the force of the temperament that surges through it.  An international career is certainly within her grasp.

San Francisco Classical Voice (SFCV.org) - 2/8/04

Solo Recital 

Cuban soprano Elizabeth Caballero was a zaftig yet vivacious Musetta, deploying her rich soprano voice seductively in her Act 2 Waltz.

South Florida Sun Sentinel - 4/17/03  
La boheme (Florida Grand Opera )
 

Possibly even better work came from...Musetta, played by Cuban-born, Miami-based soprano Elizabeth Caballero.

The Miami Herald - 4/17/03
La boheme (Florida Grand Opera )
 

Elizabeth Caballero as the multifaceted,  Musetta gave once again the people of Miami proof of her quality as a singer and her versatility as an actress.  Capricious and somewhat infantile, her character has beautiful moments of nobleness and friendship that Caballero demonstrated precisely.

El Nuevo Herald - 4/17/03
La boheme (Florida Grand Opera )
...using her ample vocal register with effectiveness and dramatic flare converting herself into one of the best interpretations of this role in years... (Musetta)
Triunfo - 4/23/03
La boheme (Florida Grand Opera )
 

Caballero possesses a rich, radiant voice for the stratospheric strength for Beethoven's Ah Perfido...  She welled out gorgeously in The Trees on the Mountains from Carlisle Floyd's Susannah and caught the deep emotionalism of the three Maurice Gardner songs...she [also gave] an imperiously full-throated account of Lady Macbeth's Vieni t'affretta...

The Miami Herald - 12/3/02
Recital (Sunday Afternoon of Music - Miami, FL )

The scene-stealer on opening night was soprano Elizabeth Caballero, who made an indelible impression as Micaela with a mix of extraordinary high notes and a theatrical presence in the character's showpiece aria, notably the prayer in Act III.  As Micaela, Caballero is at once chaste and courageous, and her Mobile debut makes her a legitimate talent to be reckoned with.  I reckon Mobilians will be seeing and hearing her again.

Mobile Register - 10/26/02

 Carmen (Mobile Opera )

 

The audience, at any rate, left no doubt about its favorite -- that would be Caballero, the brilliant young Cuban soprano who also triumphed at last summer's final concert.   Having appeared as Mimi in "Boheme" in July, Caballero sang only two notes Sunday before bursting out in the trio finale ("Alerte! Alerte!") from Gounod's "Faust" just before the end. With her powerful tone, pinpoint control and sheer star power, Caballero's singing coursed easily atop the ensemble, and the audience responded with jubilant applause.

San Francisco Chronicle - 8/20/02
Grand Finals Concert (Merola Opera Program )
 

Among the most outstanding was soprano Elizabeth Caballero in her fiery interpretation of Marguerite in the Faust trio — her vocal assurance and passion were electrifying.

San Francisco Classical Voice (SFCV.org) - 8/18/02
Grand Finals Concert (Merola Opera Program )
 

Soprano Elizabeth Caballero is [an artist to watch] as she demonstrated during last year's Merola program and now again as Mimi.  Her voice has a velvety ripeness that gave her performance heft and presence without seeming  overbearing.  Caballero's singing was touching direct in "Mi chiamano Mimi" and almost painfully vivid throughout Act 3.

San Francisco Chronicle - 7/8/02
La boheme (Merola Opera Program )
 

Her sound is big, vibrant and richly shaded, with a resonant lower range and powerful high notes.  Her command of phrasing ranged from eloquent legato to dazzling coloratura fireworks tossed off with effortless precision.  Caballero sustained a breathtaking level of theatrical immediacy and high temperament, leaving the listener hanging on her every note.  In short, Caballero is a powerful diva in the making...no one else in the current crop of Merolini's provided comparable magic or managed to keep the three hour program...from seeming overextended.

San Francisco Chronicle - 8/21/01
Grand Finals Concert (Merola Opera Program )
 

A game winning touchdown in the Opera House came when Elizabeth Caballero (from Cuba, a resident of Miami) sang a duet from Verdi's Il Trovatore...fearlessly, brilliantly, impeccably.  When a young singer tackles Leonora in a very large hall, the smart thing to do is to hold back; the foolish way is to go for broke and run out of gas before the duet's end.  Caballero chose yet another, rare alternative:  she went all out and yet kept additional vocal power in reserve - and amazing performance.

Oakland Post - 8/19/01
Grand Finals Concert (Merola Opera Program )
 

As the Neapolitan sister who can't quite remain faithful...Elizabeth Caballero [was] splendid.  Caballero a saucy actress, boasted absolutely gorgeous vocal production as well as a very sexy rhythmic assurance.  The abrupt leaps of Fiordiligi's Act I aria were a challenge the young soprano met with elegant authority: From low A to high C, Caballero's seductive low notes were never quite sung in chest but rather seemed seamlessly of a piece with her stunning vocal fabric.

[During] the sublime trio, "Soave sia vento," perhaps the most beautiful of all Mozart ensembles, there was real magic in the air.

San Francisco Chronicle - 8/13/01
Cosi fan tutte (Merola Opera Program )
 

Elizabeth Caballero's Fiordiligi was equally effective. Her soprano...was rock-solid from bottom to top ... an...exemplary portrayal.

Opera News Online -11/01

Cosi fan tutte (Merola Opera Program )

In a long, distinguished line of exciting debuts in San Francisco Opera Center productions, none was more remarkable than last week's performance by a young soprano from Cuba via Miami.  Elizabeth Caballero's Fiordiligi in the Yerba Buena Center Theater production of Cosi fan tutte was stunning: a big voice, used flawlessly, a gusty and appealing "Come scoglio" that brought the house down, and then an amazingly unflagging "Per pieta, " that daunting Act II mini-cantata - which should have received an extended ovation.  And, beyond those cruelly exposed vocal challenges, met with aplomb and brilliance, Caballero spent the entire three hours without a false step...of her own.

Oakland Post - 8/19/01

Cosi fan tutte (Merola Opera Program )

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© Copyright 2008 Elizabeth Caballero

"Caballero provided the evening’s most show-stopping performance."  NEW YORK TIMES  ~  "This Cuban soprano was so commanding that the other voices just melted away." THE NEW YORK SUN  ~  "Caballero is a powerful diva in the making." SAN FRANCISCO CHRONICLE  ~  "An international career is certainly within her grasp." SAN FRANCISCO CLASSICAL VOICE  ~  "a major talent"  THE MIAMI HERALD  ~  "Elizabeth Caballero was terrific...delivering a poignantly underlined comedic interpretation and pinpoint-precise coloratura." OPERA NEWS ONLINE