Reviews

“Frédéric Verrières delivers a masterpiece with The Second Woman…. the interpreters, incredibly natural, participate in this success of dramatic art.”

Lemonde.fr, 6 mai, 2011
Bouffes du Nord, The Second Woman (Verrières), La Cantatrice

“Elizabeth Calleo embodies a moving “cantatrice”, ravaged by fear and doubt,
a magnificent actrice, literally magnetic.”

Classiquenews.com, 4 mai, 2011
Bouffes du Nord, The Second Woman (Verrières), La Cantatrice

“…la cantatrice – captivating Elizabeth Calleo – manifestly disturbed by her doubts about her voice and career, takes us little by little into her nightmare…”

Resmusica.com, 29 avril, 2011
Bouffes du Nord, The Second Woman (Verrières), La Cantatrice

“Elizabeth Calleo brought a dark-hued soprano voice to her tender portrayal of Clémentine.”

New York Times, February 11, 2011
Le Magnifique/Grétry/Opera Lafayette in Lincoln Center

“The fine cast featured Elizabeth Calleo’s pert and pure-voiced soprano,…”

The Washington Post, February 7, 2011
Le Magnifique/Grétry/Opera Lafayette in Kennedy Center

“The treat of this production lies in its interpreters… :
The soprano Elizabeth Calleo embodies an intense, reserved and very moving Anne Trulove ”

www.altamusica.com, 24 Novembre, 2009
Théâtre de l’Athénée: The Rake’s Progress (Stravinsky) Anne Trulove

“Anne Trulove, the faithful betrothed, is reflected in Elizabeth Calleo’s modesty…,
becoming at the end of the opera completely ravishing. ”

www.webthea.com, 27 Novembre 2009
Théâtre de l’Athénée: The Rake’s Progress (Stravinsky) Anne Trulove

“… is heard on a hysterical note (stratopheric notes)”

Le Monde, 3 Octobre, 2008/
Festival Musica Strasbourg: Massacre (Mitterer) La Duchesse de Guise

“There is an arresting solo in the middle of the work as The Duchess of Guise, Elizabeth Calleo sings of her love… the vocal line uses many registers of the voice, obliging the singers to vertiginous vocal jumps. ”

Les Affiches Moniteur, 3-7 Octobre 2008
Festival Musica Strasbourg: Massacre (Mitterer) La Duchesse de Guise

“Mlle Calleo, in the role of Morgana, gives us a velocity in grand style,
almost allowing us to forget Nathalie Dessay in the same role.”

Le Canard Enchaîné, 9 Avril, 2003
Opéra Montpellier: Alcina (Handel) Morgana

“Elizabeth Calleo embodies a Zaide who is no mere slave.
Her Mozartian voice is ravishing…”

Midi Libre, 19 Février, 2003
Opéra Montpellier: Zaide (Mozart) Zaide

“Rich in promise, Elizabeth Calleo’s fragile and subtle Ilione,
inspired by a beautiful amorous rapture in the duet ‘Ah quel bonheur de vous revoir’…
then the soprano sang the aria ‘Gloire brillante’,
which with its florid coloratura demonstrated her technical abilities.”

www.concertclassic.com, Septembre 14, 2002
FondationRoyaumont: Idoménée (Campra) Ilione/Crêtoise

“…as the character ‘Amour’,
Elizabeth Calleo immediately impressed with the charm of her voice.”

La Provence, 14 Octobre, 2001
Festival Ambronnay: Cadmus et Hermione (Lully) Amour

“Elizabeth Calleo convinces as Yniold bursting with energy.”

Opéra Internationale, 10 Février, 2002
Opéra Montpellier: ’s Pelléas et Mélisande (Debussy) Yniold

“…distinguishes herself with theatrical credibility and vocal ease.”

La Croix, 9 Avril, 2002
Opéra Rouen : Bastien et Bastienne (Mozart) Bastienne

“I especially liked Elizabeth Calleo’s precise and heartfelt soprano as St. Michael.”

New York Times, October 25, 1999
New York Collegium: La Morte di San Giuseppe (Pergolesi)

“Soprano Elizabeth Calleo piped some sweetly nimble and musically sophisticated coloratura…”

Boston Globe, October 26, 1999
New York Collegium: La Morte di San Giuseppe (Pergolesi)

“Elizabeth Calleo was splendid as the saucy maid, Despina.
She acted with well-paced comic effects and sang with dramatic focus.

Philadelphia Inquirer, February 11, 2000
Academy of Vocal Arts: Cosi fan Tutte (Mozart) Despina

“Elizabeth Calleo imbued the character with comical
acting and singing. She actually used three voices – all funny,
two hilarious and one charmingly seductive.”

Philadelphia Weekly, February 16, 2000
Academy of Vocal Arts: Cosi fan Tutte (Mozart) Despina

“Adding some theatrical spice to the performance
is Elizabeth Calleo’s spirited, over-the-top Despina …
she is hilarious when Despina disguises herself as a physician and notary.”

Courier-Post, February 14, 2000
Academy of Vocal Art: Cosi fan Tutte (Mozart) Despina

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  • Elizabeth Calleo

    10 rue Clavel
    Paris 75019
    elizabeth@ccalleo.com

    Currently looking for international representation

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