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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, 6/1410
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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