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Turandot, Lyric Opera
Kansas City
Most notable was Cuban-American soprano Elizabeth Caballero, who sang
Liu in sensuously glowing tones, her charged legato shaping the music
into cogent paragraphs. Liu's death scene tore at the heart. For a long
stretch in Act III, the performance achieved the kind of unselfconscious
emotional directness that has lately been in short supply at the Met,
where almost every production seems designed for people who think they
don't like opera, or worse, for the movie cameras.
Alex Ross, The New Yorker 10/31/11
The most poignant character in the piece is Liu, the loyal slave girl
who has served Calaf’s father, the deposed Tartar king. in Act 1 Liu,
who is secretly in love with Calaf, begs him not to risk his life on the
riddles in the opera’s first great aria (“Signore, ascolta!”). Soprano
Elizabeth Caballero’s performance of the piece on opening night was
stunning. Indeed, Caballero threatens to walk away with the production,
because her solo in Act 3, just before Liu takes her own life, is
another highlight of this show.
Robert Trussell, Kansas City Star, 10/02/11
Carmen, Central
City Opera
Among the strongest and most memorable performances of tis production is
Elizabeth Caballero in the role of the gppd hearted Micaela. Caballero's
soaring, lyrical soprano and poised, graceful presence effectively
convey the endearing sweetness of the peasant girl whose heart is loyal
to the emotionally feeble Jose.
Sabine Kortals, The Denver Post, 07/03/11
La Traviata, Madison Opera
I've been attending Madison Opera performances for more than 30 years,
and I don't recall a more spontaneous or more enthusiastic response to a
soprano than Elizabeth Caballero received following Friday night's
presentation of “La Traviata.”The audience was on its feet almost before
the curtain was raised, indeed, almost before the curtain fell following
her stage death in Act 3.
William Wineke- Cahnnel3000.com 5/02/11
The “top” came in the person of soprano Elizabeth Caballero as Violetta,
the courtesan who finds true love, only to, in true operatic fashion,
lose it and regain it only to lose her life — all the while singing
gloriously. The glamorous coquette was clearly winning the audience’s
hearts by the middle of Act I, when an aria that ended with a preciously
soft high note swelled and glowed and sank back into a sweet nothing,
elicited the first “bravas” of the night.
Greg Hettmansberger, Local Sounds Magazine 4/30/11
Fortunately, this Madison Opera production has a truly wonderful
Violetta in Elizabeth Caballero, a Cuban-American soprano who has
appeared previously in an Opera in the Park show but not in a full role
here until now. With a lovely voice, she has a compelling sense of
drama. As she puts the role through its paces, she creates a Violetta of
passion and vulnerability, able to move from a conflicted sense of
herself, through cruel sacrifices, to profound commitments. Even before
her death scene, this Violetta is really heart-wrenching.
John Barker,Isthmus- The Daily Page 4/30/11
Forget the supertitles. When Elizabeth Caballero's onstage, they're not
necessary.The star of Madison Opera's shimmering production of “La
Traviata,” closing on Sunday, May 1, in Overture Hall, communicates the
meaning of each musical line from furrowed brow to restless pacing.From
Caballero's first aria, it's clear that Violetta is consumed with
longing, fear and – improbably – hope.......As the glittering party
girl, Caballero commands an easy, lyric soprano, colorful and skilled
with ornamentation. Especially impressive are the soft tones high in her
range during arias like “Sempre Libera” (“Always Free”); they shimmer.
Lindsay Christians, The Capital Times 4/30/11
Turandot, Florida
Grand Opera
As the slave girl Liu, the Cuban-American soprano - and clear local
favorite - Elizabeth Caballero gave a meltingly effective performance.
The role is not one of grand passion but of gentle, self-sacrificing
love, and Caballero had the right voice for the part. In the aria
Signore, ascolta where she begs Calaf not to risk his head for
Turandot, her warm, middle-range tones and floating high notes made for
a moving plea to the prince.
David Flesher, The Sun Sentinel, 11/16/10
But the night's most compelling singing comes from the comparably
unknown Elizabeth Caballero, a young lyric soprano who has largely made
her career with FGO. Her tones are limpid, creamy, Tebaldian. And she
can act. As Caballero sings, you really might believe that a girl could
fall in love with a man self-centered enough to sing away the night as
innocents are murdered because of his googly-eyed obstinacy. Which is
touching, I suppose, if a little depressing. We already knew love makes
us blind. Did we need to know it makes us sociopaths as well?
Brandon K. Thorp, Miami New Times, 11/18/10
Recital, Miami, FL
The highlight of the evening was Caballero's exquisite rendition of
Liszt's Petrarch Sonnets. This work finds Liszt at his most
introspective, without much of the flamboyance and superficiality of his
pianistic and orchestral scores. Caballero's vocal radiance launched
Pace non trovo into full romantic bloom. In Benedetto sia 'l giorno, she
exuded despair and sorrow, her gutsy low tones deeply poignant and
effective. The soprano's moving version of L' Vidi in Terra Angelici was
meltingly beautiful, replete with a lovely stream of unforced, rapturous
tone and deeply felt emotion.
Lawrence Budman, Miami Herald, 6/14/10
Caballero’s lustrous lyric soprano is a model of strong, clean technique
and vocal control. She spans the soprano range effortlessly without
scooping or breaks between registers. The sheer beauty of her sound was
beguiling….
South Florida Classical review, 6/13/10
Le nozze di Figaro, Seattle 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, Florida Grand 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
La Traviata, Opera New Jersey
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
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 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
L'elisir d'amore, San Antonio Opera
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
Don Giovanni, Florentine Opera
Elizabeth Caballero was terrific as Elvira, delivering a poignantly
underlined comedic interpretation and pinpoint-precise coloratura.
Opera News Online - 2/2007
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 - 9/11/06
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
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
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