IN THE NEWS
Detroit Opera | Atalanta | 2023
"In soprano Elizabeth Sutphen's deft hands, Atalanta was similarly Mozartean, a clever, sassy proto-Despina with crisp comedic instincts and fierce coloratura."
Glyndebourne Festival | Sophie | 2018
"[Sutphen] won all hearts in the Presentation of the Rose scene and at the end made a powerful statement about being accepted as her own woman."
"...sweet-toned Elizabeth Sutphen rounded off the triple-header of American divas as a touching and vulnerable Sophie."
The (R)evolution of Steve Jobs
Atlanta Opera | Chrisann Brennan | 2022
"Elizabeth Sutphen, also in her Atlanta Opera debut, plays Chrisann Brennan, who had a romantic relationship with Jobs in the early days of Apple and gave birth to his child, Lisa, whom Jobs denied paternity of for years. Sutphen, a coloratura soprano, shone brightly with her agile runs and trills."
The Merry Widow
Palm Beach Opera | Valencienne | 2022
"As the young lovers Valencienne and Camille de Rossillon, the soprano Elizabeth Sutphen and tenor Duke Kim made a vivacious team. Her sweet lyric soprano and his suave leading-man tenor paired seamlessly in the bittersweet music with which Lehár portrays their frustrated love.
"Tenor Duke Kim as Camille de Rosillon and soprano Elizabeth Sutphen as Valencienne paired for several beautiful love duets... Kim was perfect in the role of Camille, giving amorous stares to Valencienne and producing a smooth lyrical tenor that cut the orchestra. Sutphen equally demonstrated her beautiful high notes and technical prowess, particularly in her later aria, "Les grisettes de Paris."
Des Moines Metro Opera | La Folie | 2021
"Another amazing performance came in Elizabeth Sutphen's hilarious take on La Folie. From the moment she came on the stage, tied up in a straitjacket, she had the audience in tears laughing.
"This piece is chockful of featured roles that are given the chance to shine. And shine they surely did. Elizabeth Sutphen offered inspired lunacy and jaw-dropping singing as La Folie (Madness). During her stunningly detailed, musically complicated aria, coming late in the proceedings, the glamorous Ms. Sutphen threatened to tie the show up with a bow and run off with it. Her pliable, secure lyric soprano shone in all registers but never more so than above the staff. The role’s high-flying tessitura and rapid-fire melismas were dispatched with radiant ease.
Oper Frankfurt | Atalanta | 2019
"Soprano Elizabeth Sutphen was quite good in the part of Atalanta. She is a light soprano, who
sings in a very expressive way and has no problem with coloratura..."
Ariadne auf Naxos
Kentucky Opera, Théâtre du Capitole de Toulouse | Zerbinetta | 2017, 2019
"While new to Kentucky Opera’s stage, Elizabeth Sutphen felt very at home in her role as Zerbinetta. Besides having a stunning upper range and handling one of the toughest arias in the soprano repertoire, she conducted herself as a good actress as well, portraying the sought after chanteuse of the troupe. I am anxious to see her career grow.
"Combat différent pour Zerbinetta, qui doit tutoyer les hauteurs vertigineuses de la voix de colorature mais garder l’ampleur du son. Elizabeth Sutphen exécute sans faille les passages périlleux du rôle... Sutphen se déplace avec la grâce pétillante d'une danseuse.
A different fight for Zerbinetta, who has to be close to the dizzying heights of the coloratura voice, but keep the magnitude of the sound. Elizabeth Sutphen flawlessly performs the perilous passages of the role... Sutphen moves with the sparkling grace of a dancer."
"Elizabeth Sutphen nous éblouit de sa voix impériale tout en jouant son rôle avec l'énergie et le sex-appeal d'une actrice de comédie musicale.
Elizabeth Sutphen dazzles us with her imperial voice while playing her role with the energy and sex appeal of a musical actress."
Oper Frankfurt | Lisa | 2018
"It seems to me the Lisa of her compatriot Ms. Sutphen has the bigger future ahead for uniting remarkable stage presence with a superb voice..."
Oper Frankfurt | Romilda | 2017
"Her feeling for the Handelian line and sparkling coloratura are matched by the American soprano Elizabeth Sutphen, whose willful, strongly sung Romilda is emphatically not a woman to be messed with."
Von Heute auf Morgen
Oper Frankfurt | Die Frau | 2022
"Elizabeth Sutphen and Sebastian Geyer are the younger couple, young and flexible bodies and voices...Sutphen's soprano radiant and, when necessary, bitchy and jagged..."
Houston Grand Opera | Faustina | 2019
"Lauren Snouffer and Elizabeth Sutphen were extremely gifted at playing Da Ponte’s
nieces (as well as his mistresses in flashback moments), and had several coarse moments
where they could poke the ribs of the current American political establishment..."
Oper Frankfurt | Lisetta | 2020
"The singing company is excellent, as is the virtuosity of the movements and gestures, from which a solid acting job shines through.... Elizabeth Sutphen, well supported by undoubted stage skills and an agile voice, performs well in the part of Lisetta, who over the course of the evening transforms from a chaste and virginal white girl into a young vamp."
"Elizabeth Sutphen ist die lieblich singende sowie zwitschernde Lisetta (die Tochter des Don). Ihr Sopran ergänzt sich mit dem eine Nuance abgedunkelteren von Angela Vallone als Doralice zum himmlischen Duett – und zum frechen, modebewussten Engelstrio, wenn noch der nuancenreiche Mezzo von Nina Tarandek als rührige Madama La Rose dazukommt.
Elizabeth Sutphen is the sweetly singing and chirping Lisetta (the Don's daughter). Her soprano complements the slightly darker one of Angela Vallone as Doralice to form a heavenly duet - and the cheeky, fashion-conscious angel trio, when Nina Tarandek's nuanced mezzo as the active Madama La Rose is added."
Juilliard Opera | La feé | 2014
"The fairy godmother, in her smart blue jacket and skirt, here becomes the efficient manager of the cinema, and the impressive coloratura soprano Elizabeth Sutphen sings the role splendidly.
Milwaukee Symphony Orchestra | 2015
"Sutphen combined a clear, ringing soprano sound, absolute precision and the musical/dramatic depth to create a soaring "Rejoice Greatly" and a soulful "I Know that My Redeemer Liveth.""