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“Dulcissime,”Carmina Burana

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“Libera Me,” Verdi’s Requiem

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“Donde Lieta,” La bohéme


“Dulcissime,” Carmina Burana

“Libera Me,” Verdi’s Requiem

“Donde Lieta,” La bohéme

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Elizabeth Caballero

Soprano

Soprano Elizabeth Caballero’s performance in her signature role, Violetta in La traviata, is touted as “animated, communicative and believable, singing with a big, facile, focused sound while making the vocal demands of the role seem easy and natural.” Her dramatically compelling interpretation of Violetta led to recent engagements to perform the role for houses across the country, such as Florentine Opera, Madison Opera, Pacific Symphony, and the Orlando Philharmonic. This season, Ms. Caballero will reprise her Violetta in La traviata with la Compañía Lírica Nacional in Costa Rica; sing the soprano solo in Carmina Burana with Asheville Symphony and National Chorale; return to The Metropolitan Opera for their production of La bohème; perform the role of Cio-Cio San in Madama Butterfly with Pensacola Opera; and reprise the title role of Daniel Catán’s Spanish opera Florencia en el Amazonas with Madison Opera. Future seasons will see Ms. Caballero making returns to Seattle Opera and Austin Opera.

Jul
2017

Jul-23
to
Aug-01
La traviata
Violetta
la Compañía Lírica Nacional
San Jose, Costa Rica
Oct
2017

Oct-02
to
Nov-04
La bohème
The Metropolitan Opera
New York, NY
Nov
2017

Nov-03
Carmina Burana
Soloist
National Chorale
New York, NY
Dec
2017

Dec-31
Carmina Burana
Soloist
Asheville Symphony Orchestra
Asheville, NC
Jan
2018

Jan-26
to
Jan-28
Madama Butterfly
Cio-Cio San
Pensacola Opera
Pensacola, FL
Feb
2018

Feb-16
to
Mar-10
La bohème
The Metropolitan Opera
New York, NY
Apr
2018

Apr-27
to
Apr-29
Florencia en el Amazonas
Florencia
Madison Opera
Madison, WI
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…plushtoned, expressive soprano…
 Florencia en el Amazonas “The cast was excellent, starting with the plush­toned, expressive soprano Elizabeth Caballero as Florencia”The New York Times
…fearless onstage…
 La traviata – Soprano Elizabeth Caballero delivered a marvelous Violetta, the courtesan, on Friday. She was animated, communicative and believable, singing with a big, facile, focused sound while making the vocal demands of the role seem easy and natural. She also was fearless onstage, playing the final scenes in a pale, disheveled, haggard state that lent reality to the illness that was about to claim her.” – Milwaukee Journal 
…stunningly radiant and crystal-clear…
La bohème  “Caballero’s Mimi was as warm and touching as her voice was stunningly radiant and crystal-clear. She is one of those rare sopranos without a hint of stridency, even at full throttle. The audience loved her, with a few shouts of “Brava” from the audience during the performance and a quantum leap in applause over that bestowed on the other singers.”Queen Anne News 
…sufficient range, power, and control…
 Verdi’s Requiem – “Although hearing her in the role of Musetta gave us a chance to enjoy the beauty of Caballero’s voice, we had only glimpsed a fraction both her vocal and dramatic range until Saturday night, when she showed herself to be a Verdi soprano – one of sufficient range, power and control to mine the deep veins of tragic pathos found in all of Verdi’s heroines. Her reading of the Libera Me, capped by a stratospheric octave leap to the last syllable of “Requiem” will live long in the memories of all who heard it.” The Spokesman Review 
…soaring, lyrical soprano and poised, graceful presence…
Carmen – Among the strongest and most memorable performances of this production is Elizabeth Caballero in the role of the goodhearted Micaëla. 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 José.” The Denver Post
Soprano Elizabeth Caballero’s performance in her signature role, Violetta in La traviata, is touted as “animated, communicative and believable, singing with a big, facile, focused sound while making the vocal demands of the role seem easy and natural.” Her dramatically compelling interpretation of Violetta led to recent engagements to perform the role for houses across the country, such as Florentine Opera, Madison Opera, Pacific Symphony, and the Orlando Philharmonic.

This season, Ms. Caballero will reprise her Violetta in La traviata with la Compañía Lírica Nacional in Costa Rica; sing the soprano solo in Carmina Burana with Asheville Symphony and National Chorale; return to The Metropolitan Opera for their production of La bohème; perform the role of Cio-Cio San in Madama Butterfly with Pensacola Opera; and reprise the title role of Daniel Catán’s Spanish opera Florencia en el Amazonas with Madison Opera. Future seasons will see Ms. Caballero making returns to Seattle Opera and Austin Opera.

She was engaged to perform the role of Musetta in Puccini’s La bohème for the Metropolitan Opera after grabbing the audience’s attention in the role at New York City Opera where The New York Times hailed Ms. Caballero as “the evening’s most show-stopping performance offering a thrilling balance of pearly tone, exacting technique and brazen physicality.” She subsequently returned to The Met in their new production of Carmen as part of The Metropolitan Opera: Live in HD series.

Last season, Ms. Caballero commanded the New York City Opera stage as the title role of Florencia en el Amazonas, performed the role of Mimì in La bohème with Opera de Costa Rica and Hawaii Opera Theatre, her signature role of Violetta in La traviata with Opera Carolina, Nedda in I Pagliacci with Arizona Musicfest, and played the role of Mother / The Moon in Before Night Falls, based on the memoir of Cuban poet Reinaldo Arenas, with Florida Grand Opera. Additionally, in concert, she performed at Austin Opera’s Chairman’s Forum Gala; sang a solo recital with St. Hugh-Steinway Concert Series in Florida; and performed the soprano solo of Verdi’s Requiem with Spokane Symphony, the soprano solo in Atonement with Orchestra Miami as a part of their “Discover Miami Through Music” series, and the soprano solo in Rachmaninoff’s The Bells and Poulenc’s Gloria with Crane Chorus and Symphony Orchestra at The Crane School of Music.

Prior engagements include an exciting return to Seattle Opera to sing Donna Elvira in Don Giovanni, which she also performed with Lyric Opera Kansas City; a performance of Carmina Burana with Florida Orchestra; the title role in Daniel Catán’s Florencia en el Amazonas with Nashville Opera; John Rutter’s Requiem at Carnegie Hall; and Liù in Turandot, a concert appearance as Micaëla in Carmen, and Previn’s Honey and Rue in returns to the Pacific Symphony. She also performed Violetta in La traviata at Opera Naples, Zemfira/Nedda in Aleko/Pagliacci at Opera Carolina, and as the soprano soloist in Verdi’s Requiem in Opera Grand Rapids.

A house favorite at Florida Grand Opera, she dazzled audiences as Contessa Almaviva in Le nozze di Figaro, Liù in Turandot, Mimì in La bohème, Micaëla in Carmen, and Magda in La rondine. Other favorite engagements include a return to New York City Opera in Pagliacci and La bohème; Adina in L’elisir d’amore at San Antonio Opera; Micaëla in Carmen and Mimì in La bohème at Central City Opera, a return engagement as Liù in Turandot for Lyric Opera Kansas City, and a reprisal of the role at Austin Lyric Opera.

Since her European début as Magda in Puccini’s operetta La rondine at Teatro Giuseppe Verdi in Trieste, Italy, Caballero has fostered strong relationships with companies around the globe. This led her to portray some of operas greatest roles on international stages throughout the world including Cio-Cio San in Madama Butterfly at the Staatsoper Berlin, Anne Trulove in The Rake’s Progress with the Brazilian Symphony Orchestra, and the title role in The Merry Widow at Teatro Nacional Santo Domingo.

Ms. Caballero built a reputation as “an intelligently responsive actress” (Opera News) after a string of role débuts throughout the United States: Donna Elvira in Don Giovanni at New York City Opera, Cio-Cio San in Madama Butterfly at Lyric Opera Kansas City, Alice Ford in Falstaff with Virginia Opera, Donna Anna in Don Giovanni at Madison Opera, and a turn as Susanna in Le nozze di Figaro in her company début at Seattle Opera, followed by a triumphant performance as Mimì in La bohème. Her company début at Hawaii Opera Theatre was in a double bill of another signature role, Nedda in Leoncavallo’s Pagliacci and as soprano soloist in the scenic cantata, Carmina Burana by Carl Orff.

Ms. Caballero has impressed in the competition circuit, as well. She was a National Grand Finalist in The Metropolitan Opera National Council Auditions, a Gerda Lissner Foundation Award Winner, winner of the New York City Opera Diva Award, finalist in the Licia Albanese Puccini Foundation, and one of Miami’s Most Influential People by the Miami New Times. Additionally, in 2013, she was the recipient of the 2013 Frost School of Music Distinguished Alumni Award from the University of Miami.

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