|
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 )
|
