A C C L A I M
- Salomé, Den Norske Opera, Oslo
- Lady Macbeth in Macbeth, Montevideo, Uruguay
- Lady Macbeth in ‘Macbeth’, Teatro Municipal, Santiago, Chile
- ‘Norma’, Palm Beach Opera
- ‘Tosca’, Florida Grand Opera
- ‘La Fanciulla del West’, London
- ‘La Fanciulla del West’, Florida Grand Opera
- Leonora in ‘Il Trovatore’, New Jersey Opera Theater
- Musetta in ‘La Bohème’, Baltimore Opera
- Bellini’s ‘Norma’, London
- Verdi’s ‘Requiem’
- Desdemona in ‘Otello’
- Violetta in ‘La Traviata’, Metropolitan Opera
- Ginevra in ‘Un Racconto Fiorentino’, Lincoln Center
- Leonora in ‘Il Trovatore’
- Mimì in ‘La Bohème’
- Violetta in ‘La Traviata’, Texas
- ‘Madama Butterfly’
- Liù in ‘Turandot’
“Ice princess, she does it.” (REVIEW TITLE)
"Elizabeth Blancke-Biggs 'is' an Ice Princess so it is great for this soprano breaker of a role (fully on a par with Wagner's Brünnhilde), she offers her miracle voice, as she tours with ease from the lyrical tactful to a voice of storm and steel."
By Olav Egil Aune
On stage we experience star singers with the magnificent Elizabeth Blancke-Biggs as a glitzy Turandot.
…The musical highlights are definitely Elizabeth Blancke-Biggs as Turandot, her opening aria "In questa reggia" was a brilliant peak, on a par was her presentation of the riddles!
Elektra Teatro Comunale di Bologna
"Elektra potrebbe essere definita un 'one woman show' ed Elizabeth Blancke-Biggs riesce veramente a catturare lo spettatore su di se con un carisma tale da desiderare che i suoi monologhi e i suoi dialoghi non finiscano mai. L'interpretazione é avvincente, da togliere il fiato, supportata da un accento e un uso della parola che fanno invidia al teatro shakespeariano. La vocalitá da lirico spinto, calda e suadente, calza a pennello col ruolo e la bravissima professionista sa tenere suoni brillanti e limpidissimi nella zona centrale e nel bel registro acuto, per poi cercare maggiore efficacia drammatica sporcando i gravi e i medio bassi, pur senza togliere musicalitá nel difficile ruolo ricco di parlati, sussurrati e forti tendenti allâ urlo."
"Elektra could be defined as a "one woman show", and Elizabeth Blancke-Biggs truly succeeds in drawing the spectator to her with a charisma that makes one want her monologues and scenes to never end. Her interpretation is breath-takingly fascinating, based on a declamation and use of text that would make a Shakespearian actor jealous. Her lirico-spinto voice, warm and convincing, fits the role perfectly, and the great professional knows how to keep her sound bright and smooth in the center of her voice, and in the beautiful high register, and then to obtain the maximum dramatic effect to darken the low, and medium low parts without taking away the musicality in this difficult role rich in quasi spoken, whispered, and loud passages, heading almost to screams."
"Elizabeth Blanke-Biggs è una Elektra di tutto rispetto che ben affronta le asperità della parte: la voce ha il giusto volume, il timbro presenta un bel retrogusto scuro adatto al ruolo, l’acuto è solido e squillante e il personaggio è ben tratteggiato in quella sua lucida follia ammantata di una furia più interiore che esteriore."
"Elizabeth Blanke-Biggs is an Elektra who is well suited in every way to take on the difficulties of the part: the voice has the proper volume, the color shows a beautiful old style darkness appropriate for the role, the high notes are solid and brilliant, and the character is vividly and intricately drawn in its lucid madness cloaked by a fury that is more interior than exterior."
"…un cast ottimale, che ha reso, non solo vocalmente, ma anche scenicamente grande questo spettacolo. Elizabeth Blancke-Biggs, nel ruolo del titolo, è stata superba. Emotivamente forte è stata la sua Elektra, grazie anche alla sua voce tendente allo scuro ma estesa come emissione; la sua recitazione è stata sublime, inquadrando perfettamente il personaggio, sapendo rendere sia il lato tragico e folle che il lato passionale e romantico."
...an optimal cast made this show great, not only vocally, but theatrically. Elizabeth Blancke-Biggs was superb in the title role. Her Elektra was expressively strong, thanks also to her voice which leaned toward the dark, but was well projected; her performance was sublime, perfectly illustrating the character, knowing how to show her tragic and mad side, and also her passionate and romantic one.
La voce di Elizabeth Blancke-Biggs ha dominato la scena, e la tessitura straussiana, con recitativo carismatico declinando efficacemente i vari tratti della personalità di Elektra.
Arte e Arti, 05/12/2015 Stefano Santini
Salome - Bellas Artes Mexico City
El Universal, 04/07/2015
La partitura de Strauss lo cuenta todo y ellos acudieron a ella con suficiente honestidad, sin dejar de ser fieles a su propia lectura. Los tres brillaron tanto en lo musical, precisos, imponentes, convincentes, como en la poca escena que pudieron realizar.
Blancke-Biggs como Salomé, ella con la suficiente exuberancia a la que se puede acudir en un espacio tan reducido –y a las posibilidades que todavía le quedan para, digamos, escenificar la esperada Danza de los siete velos–, con una voz que todavía es poderosa y que mantiene un color que resulta esencial para esta partitura.
Una Voce Poco Fa, 07/2015
Un grande, un mítico sin duda. Blancke-Biggs entregó una princesa que vocal e histriónicamente trenza la sensualidad superficial, visible, con una concepción profunda del deseo, dando como resultado una deliciosa versión que va sumergiendo al espectador en sus filias más íntimas que le llevan a perder la cabeza.
A great (Salome), certainly mystical. Blancke-Biggs gave a princess who vocally and histrionically weaved the superficial, visible sensuality, with a deep conception of desire, resulting in a delicious version that plunged the viewer into their innermost aversions and led him to lose his mind.
José Noé Mercado
Hoy, Salomé representa como dice en cierto momento su protagonista, “el misterio del amor es más grande que el misterio de la muerte”, el personaje enigmático que a todas conquista, tanto en la escena teatral como en la operística, es el papel más codiciado para una soprano como Elizabeth Blancke-Biggs, quien reconocida por su poderoso caudal y coloratura impactante es considerada una de las voces que dominan el dramatismo de la escena operística.
Una artista consagrada con una larga trayectoria que la ha llevado a participar en infinidad de óperas como esta misma Salomé con la Den Norske Opera de Oslo
ABIGAILLE NABUCCO Grand Théâtre de Gèneve
Le magazine de l'Opera et du monde lyrique, 03/03/2014
They made the double revelation of the evening: in the Nabucco presented by the Grand Theatre de Geneve, Elizabeth Blancke-Biggs and Roman Burdenko are simply extraordinary. The soprano audaciously establishes a hallucinatory Abigaille with a voice that is formidably of long extension, with audacious, aggressive high notes, and dark, meaty, and supple low notes. One could reproach her for a lack of nuances, and a preference for aggression, sometimes to the limits of good taste, but, these excesses bring to the character a flamboyant charisma, an extraordinary quality, which glues one to her. On the other hand, her interpretation of the final aria, with her mezza voce singing, the likes of which one has not heard before, stand in musical relief against the rest of the evening, revealing the emotional fissures of the character in a very moving way.
MINNIE - La Fanciulla del West Castleton Festival
Minnie - La Fanciulla del West
Castleton Festival, 12/07/2013
Opera News, 10/2013
There was a real-life, last-minute rescue-by-soprano for the Fanciulla production on July 12.
Elizabeth Blancke-Biggs made it to Castleton from New York mere hours before curtain and sang the title role from the pit. She met the score's most taxing demands with sturdy top notes that contained a glint of steel, but she was even more impressive producing warm, subtle nuances for the gentler moments.
Salomé (Salomé, role debut) - Den Norske Opera, Oslo
Elizabeth Blancke-Biggs in the title role sounds magnificent.
Elizabeth Blancke-Biggs filled the demanding role spectacularly (...) I don’t think I’ve ever heard a soprano with such powerful low notes, something Blancke-Biggs showed off to great effect when begging Herodes for the head of Jochanaan. The final monologue was nothing less than ravishing. I would really love to see her back in Oslo, especially in Strauss’ heavier roles.
Also musically this must be one of the opera literature's most challenging female parts, and American Elizabeth Blancke-Biggs does a fantastic role. She has a voluminous voice which fills the character from bottom to top, and she has a theatrical radiance which makes her mediate humor and frustration in a balanced way.
Elizabeth Blancke-Biggs Salome exploded from Barbie doll innocence to a monster, with high, dramatic vocal temperature, certain in all the crazy leaps.
The singers' terrific diction – at least Elisabeth Blancke-Biggs and Thomas Halls – was so good I didn't need subtitles ... What I also noticed was the huge theatrical pleasure, which was enrapturing. I have never experienced anything like it, and it was the singers that triggered my exaltation. The evening's main role was sung by soprano Elizabeth Blancke-Biggs. She certainly was its highlight. Her vocal splendor and strength were Salome worthy and she often formed the merciless role with beautiful bel canto singing.
The role as Salome is extremely hard to perform. Its physical standards make it almost impossible to understand that a living human being can get through with its throat intact. We therefore understand why tonight's Salome, American Elizabeth Blancke-Biggs, lifted her arms in exultation as after an athlete's achievement when the performance was over. She finished impressively. In some parts she seemed to rest, especially in the lower vocal parts – she is not a contralto! – but anything else would have been almost unthinkable.
Lady Macbeth in Macbeth, Montevideo, Uruguay
The American soprano Elizabeth Blancke-Biggs as Lady Macbeth was the most outstanding character of the evening. Possessor of an admirable vocal range, which was equally surprising in both its low and high registers, she demonstrated an absolute technical mastery, and a particular ability to personify this dramatic character. In the ensemble scenes her powerful high notes soared above the orchestra, and chorus. Her ability to immerse herself in the character was amazing. From the opening aria to the Sleepwaking Scene of the final act, it was all fantastic.
Lady Macbeth in Macbeth, Teatro Municipal, Santiago, Chile
"Macbeth" en ascenso
Yes, this column noted that the first cast in the musical production faltered at the poor performance by soprano di Lady Macbeth, with the arrival of the second cast it ascended completely to the service of the score. Here arrived Elizabeth Blancke-Biggs the American who plays that role so grave, displaying an increasing accumulation of virtues, both in vocal and theatrical performance. This Lady convinces and impresses, imposing with a voice of great quality and extremely good projection in the wide tessitura, in addition to giving a performance where you breathe completely an air of evil and ambition.
The excellent work that he (Macbeth) and the soprano designated and developed was vital for pushing up the weakest work of their colleagues.
Mario Córdova - Las Últimas Noticias, Aug. 2010 (translation)
Version estalar de "Macbeth" de Verdi
Most poignant was the scene where Lady Macbeth enters guided by the scarlet thread of blood that is washed uselessly, a thread which is also linked to Macbeth before facing his destiny, this scene is one of the biggest successes of the production. Elizabeth Blancke-Biggs the American soprano, was a great Lady Macbeth, in full possession of the role, with a voice she handles with intelligence, both in its beautiful lows as in the treble, and with a capacity to sing beautifully in pianissimo, she highlights the letter scene. She becomes a manipulative and ambitious woman, using a hard coldness in the banquet scene, for the visions of her husband, and in the mad scene with the scarlet thread, before dying.
The enthusiastic applause from the public, justly rewarded, with a cast who lived each of the ups and downs of the tragedy, in a production that has generated controversy for its timelessness and daring, but all agreeing in its full perfection and visual impact of each one of the resources used by the regisseur.
Gilberto Ponce Vera - Visiones Criticas, Aug. 2010 (translation)
Norma, Palm Beach Opera
Magical Eloquence. The first night of Palm Beach Opera’s revival of Bellini’s ‘Norma’ provides a night to remember.
The title role is one of the most demanding in the repertoire — the Italian equivalent of a Wagnerian soprano with a fluent coloratura extension. (Rosa Ponselle, Zinka Milanov, Maria Callas, Joan Sutherland and Montserrat Caballé have excelled as Bellini’s tragic heroine.) American soprano Elizabeth Blancke-Biggs has an impressive international career resumé. (She has specialized in such formidable roles as Maria Stuarda and Abigaille in Nabucco.) Blancke-Biggs was every inch Bellini’s imperious druid priestess. Her sizable dramatic soprano was equally flexible in stentorian declamation and radiant cantilena. Opening with a broadly phrased Casta diva, the soprano went from strength to strength, negotiating the composer’s coloratura leaps and roulades with ease. Yet it was her soft, exquisitely burnished singing that melted the heart. A mistress of Bellini’s long, arching vocal line, she made Norma’s final sacrifice deeply moving; the heartbreaking final duet with tenor Renzo Zulian soaring into magical eloquence.
In the duet Mira, o Norma and succeeding cabaletta, Swenson and Blancke-Biggs produced the kind of gorgeous, seamlessly produced vocalism of which legends are made. The first night audience awarded vociferous, cheering ovations to both artists — two sopranos who are truly at the top of their artistic powers.
— Lawrence Budmen, Music and Vision Daily
Palm Beach Opera’s ‘Norma’ divine, captivating
Palm Beach Opera presented Vincenzo Bellini’s Opera, Norma, Friday night at the Kravis Center — and it proved to be a glorious and captivating experience.
The Palm Beach Opera succeeded admirably in assembling a strong, wellsuited cast. Finding vocal artists for what is the epitome of a bel canto opera is a daunting task.
Soprano Elizabeth Blancke-Biggs portrayed the Druid priestess, Norma. She possesses the necessary prodigious vocal technique required for the demanding role. She took an icy, steely take on the role — a bit of the Callas cutting edge. Her opening act, Casta Diva, was clean and precise. She warmed as the evening progressed, seeming to increase the emotional depth of her performance. Her second act duet, Mira, o Norma, touched on the sublime. The final act, In mia man alfin tu sei, was commanding and forceful. Ms. Blancke-Biggs made the most of the pathos of the final scene.
— R. Spencer Butler, The Daily News, January 24, 2009
Tosca, Florida Grand Opera
‘Tosca’ thrilling, singing senational
The Florida Grand Opera’s current subtle, elegant production of “Tosca,” under the brilliant direction of Catherine Malfitano, is a must see for opera lovers.
Leading the splendid cast as Floria Tosca was dramatic soprano Elizabeth Blancke-Biggs. She has a potent vocal sound, with light and shade in all the right places and strong dramatic texture when needed. Her rendition in Act ll of “Vissi d’arte,” (I have lived for Art), in which she asserts God has forsaken her in her hour of need, had passion, pathos and perfect pitch. The audience gave her many bravas for her beautiful and sensitive performance. In contrast, her repeat of the word “Morte” (die) in the lower part of her register, as she stabs Baron Scarpia to death, was spine tingling stuff; rivalling that of the late Maria Callas whose use of the same three words has the same chilling effect on the listener. Blancke-Biggs owns this role, her vocal range is suited to Puccini’s music. Hers was indeed a great performance.
— Rex Alan Hearn, Coral Gables Gazette
Puccini’s ‘Tosca’ boils with emotion
Soprano Elizabeth Blancke-Biggs in the title role last seen with the Florida Grand Opera for Puccini’s Girl of the Golden West in late 2005, brings a strong, focused soprano to the role of Tosca that, while darkly inflected in softly lyrical moments, becomes a pure fiery instrument through the score’s most passionate expressions. Her interactions with Honeywell and Pittsinger carved a full portrait of the actress who is equally capable of being girlish, vain and heroic - cemented by the time Blancke-Biggs reaches her second-act aria “Vissi d’arte, vissi d’amore” (I lived for art, I lived for love).
— Jack Zink, Sun Sentinel, Feb. 13, 2008
Excellent ‘Tosca’ at FGO
We were told in advance to expect magnificent voices. All were great. The Soprano Elizabeth Blancke-Biggs assumed the title role. Blancke-Biggs manifested a Floria Tosca hard to top, both in stage presence and projection of the voice, both agile and intense. She began a little cool but very soon the engine warmed up to give each note its expressive due. Her delivery of the aria “Vissi d’arte” was unparalleled, as was the delivery of her duets and trios in acts 1 and 3.
— Ariel Ramos, Diario Las Americas, Feb. 11, 2008 (translated from the Spanish)
Puccini’s La Fanciulla del West, Opera Holland Park
“A bull’s-eye, then, to Opera Holland Park for finding a Minnie at all, leave alone one as good as Elizabeth Blancke-Biggs.
“She is, in a word, terrific – mature enough to make this earth-mother figure believable, youthful and spirited enough to have us choking back the tears at her first kiss. And still thinking that a shotgun wedding might be on the cards.
“Minnie has the best entrance in all opera: ... her rolling theme swelling proudly from the orchestra ... Blancke-Biggs, has more than enough voice and vocal authority to hold her own against the many different male timbres.
“The voice has the plangency and steely core to make its presence felt, the smoky chest- voice colour to give it depth and warmth, and a free and uninhibited top. When she sings of her humble origins and her dream to “rise as high as the stars”, Puccini has her do just that. Blancke-Biggs wrings pathos, not bathos, from all of her big moments. Pleading for her lover's life in the masterly final scene, she nails her “boys”, and us, with the line: “None of you ever said, ‘that's enough’, when I gave you the best years of my youth.” Their response finally makes this a five-handkerchief opera.”
— The Independent
“The American Elizabeth Blancke-Biggs is an impressive Minnie in Puccini’s frontier saga ... (she) impressed with her authority, and incisive soprano. This girl of the Golden West managed to make Puccini and Belasco’s proposition at least half-way plausible.”
— The Times
“Elizabeth Blancke-Biggs is the beating heart of Puccini’s opera set in the wild west ... (she) has the required vocal weight and dramatic sense: here you feel, is opera’s Mae West, quite capable of controlling the rowdies without the Bible-bashing the composer forces on her.”
— The Evening Standard
“The performances, by and large, are terrific ... Blancke-Biggs sings Minnie’s music with thrilling abandon.”
— The Guardian
“The American soprano Elizabeth Blancke-Biggs gave a searching performance as Minnie, tough but very vulnerable ... .”
— The Sunday Telegraph
“The American soprano Elizabeth Blancke-Biggs was a committed Minnie, bringing to the role a voice that was ample, poised, and capable, even stirring ... ”
— Opera (UK)
“Elizabeth Blancke-Biggs’s Minnie may look slim and pretty in Act One, but by Act Two her authority and her anger at being duped by Dick Johnson was totally convincing. Minnie’s Valkyrie-like entrance and Minnie’s sermon and farewell to the miners were fully delivered.”
— Classical Source
“Elizabeth Blancke-Biggs sings Minnie with a glorious tone ... .”
“Elizabeth Blancke-Biggs took Minnie’s role by storm ... .”
— The Spectator
“Elizabeth Blancke-Biggs, fielding an enviably secure soprano, is a heroic Minnie ... ”
— The Stage
“Elizabeth Blancke-Biggs sang with bullet like force ... .”
— The Financial Times
Bellini’s Norma, Opera Holland Park
“Elizabeth Blancke-Biggs’ Norma ... has a strong, penetrating soprano, secure of coloratura and legato.”
— Opera Japonica
Puccini’s La Fanciulla del West, Florida Grand Opera
Puccini would puff up with pride
“To say that the heroine in Florida Grand Opera's season debut triumphantly rode off into the sunset is an understatement. On Saturday, FGO offered one of its finest productions in recent seasons as it opened with Puccini's operatic spaghetti western La Fanciulla del West (The Girl of the Golden West) at the Dade County Auditorium.
“Puccini's Gold Rush saga requires stellar voices and FGO fielded three star turns in the leading roles. As Minnie, Elizabeth Blancke-Biggs was a veritable powerhouse. Her gorgeous lyrico-spinto soprano gleamed in Puccini's stratospheric flights. Blancke-Biggs' rapturous sound literally enveloped the stage. A flamboyant, charismatic stage presence, the soprano made the poker scene a real musico-dramatic tour de force.”
— Lawrence Budmen, The Miami Herald
“With her beautiful voice, musical intelligence, and stunning theatricality, Blancke-Biggs is set for operatic stardom!”
— Entertainment News
“La soprano californiana Elizabeth Blancke-Biggs, hace una magnífica interpretación de la heroína en la que el autor mezcló la suavidad de Mimí en Bohemia, con la fortaleza de Floria Tosca, logrando un personaje sumamente atractivo.
“Blancke-Biggs está dotada de una voz fácil y potente para encarar exitosamente el a veces inevitable énfasis del conjunto orquestal. Su voz brilló en todo momento halagando al máximo los oídos del público, que la premió con una cerrada ovación final.”
— Diario Las Americas
“The soprano, Californian Elizabeth Blancke-Biggs, delivered a magnificent performance as the heroine in whom the author blended the softness of Mimi in Boheme with the strength of Floria Tosca to achieve a very attractive character.
“Blancke-Biggs is gifted with an easy, powerful voice that can successfully face the inevitable over-emphasis of the orchestra. Her voice was brilliant at every moment and greatly pleased the audience who rewarded her with a standing ovation at the end.”
— Diario Las Americas
“Elizabeth Blancke-Biggs is an aptly spunky heroine, conveying the toughness as well as the tender heart of the woman who reads psalms to the illiterate miners but will also cheat at cards to save her man ... Blancke-Biggs has a pure, focused soprano and sang with technical aplomb and precision.”
— Lawrence A. Johnson, Florida Sun Sentinel
“Elizabeth Blancke-Biggs brought a distinctive voice, to the title role. A native Californian, she cut a fine figure in Constance Hoffman's leather-and-lace costumes ... her multicolored instrument convinced for long stretches of this grueling role.”
— Octavio Roca, New Times
As Leonora in Verdi’s Il Trovatore, New Jersey Opera Theater
The stand-out performer of the concert was soprano Elizabeth Blancke-Biggs, singing the role of Leonora. Ms. Blancke-Biggs was a true Verdi soprano, smoothly maneuvering the runs with rich clarity and impeccable timing. She had the role of the Verdi heroine down, floating high Bs and Cs out of nowhere with ease.
— Nancy Plum, Town Topics, Princeton NJ
As Musetta in Puccini’s La Bohème, Baltimore Opera
As the lusty, brawling counterpoint couple, [Marcello and Musetta] Blancke-Biggs and Kneebone give full voice to their inflamed emotions. Blancke-Biggs’ first aria in the second act is the most memorable of the night.
— Gadi Dechter, City Paper, Baltimore
“The fearless soprano of Elizabeth Blancke-Biggs stormed the heights and plumbed the depths with a skillfully deployed voice, expressing real terror in Tremens factus sum ego and much worry in the nervous chants.”
— Los Angeles Times
Desdemona in Otello
“Elizabeth Blancke-Biggs was exceptional ... She infused her character with personality and life, and she put heart-felt emotion into her singing. [She] possesses a dramatic soprano that is at the same time tender, lyrical and expressive.”
— Deseret News
“Elizabeth Blancke-Biggs sings with affecting sincerity and impressive strength, conveying Desdemona’s growing alarm without simpering or cowering.”
— Salt Lake Tribune
Violetta in La Traviata, Metropolitan Opera
“Blancke-Biggs had a wonderful legato and pianissimo. She also acted well with a credible death scene. This was everything the Met audience wants and gets, as shown by a massive ovation. Maestro Viotti, fresh from Venice, took much of the work quite slowly but clearly had control and it never dragged.”
— Andrew Byrne – CUNY online
Ginevra in Un Racconto Fiorentino,, World Premiere, Lincoln Center, NY
“Soprano Elizabeth Blancke-Biggs a young artist with a warm Mediterranean timbre, ample vocal heft and excellent technique, gave a bravura performance indicating an important career in the making.”
— Opera News
Leonora in Il Trovatore
“Elizabeth Blancke-Biggs as Leonora has a voice to die for. It has a dark coloration along with a bright, pointed intensity, a perfect vehicle for Leonora’s emotional spectrum – languid lovesickness to leaping trilling ecstasy.”
— The Augusta Chronicle
“The spotlight shines brightest on Leonora, sung by Elizabeth Blancke-Biggs. [She] has a lovely soprano voice, bright and secure with a middle register most mezzo-sopranos would envy.”
— The State
Mimì in La Bohème
“As Mimì, Elizabeth Blancke-Biggs displayed ample promise, her warm lyric soprano lending ardor and finely etched line.”
— Opera News
“Elizabeth Blancke-Biggs is truly terrific as Mimì. Blancke-Biggs’ crystalline clarity of line, coupled with her good looks makes her irresistible.”
— Virginia Gazette
“She exploited the expressive potential of the music. She was riveting with a strong middle voice. In the crucial last act she floated her soft notes.”
— Virginian Pilot
Violetta in La Traviata
“ Blancke-Biggs seemed born for the role. Her Violetta is a model of self-confidence and charm. Her marvelous voice reflects the different sides of Violetta’s persona: clear and sparkling in the vocal ornamentation of her party scenes, firm, vibrant and open – seemingly down to her very heart – when her true passions speak.”
— Waco Tribune
“Blancke-Biggs made a superb debut as Butterfly. Tender with Pinkerton, comically mocking with Yamadori, fierce with the servants, warm and loving with her young son. [She] gave a complete performance, spinning a good story while delivering achingly beautiful singing.”
— The Grand Rapids Press
“Breathtaking singing and convincing acting ... Blancke-Biggs’ performance was characterized by a robustness of presence and theatrical timing.”
— Worchester Telegram
“Most fortunately for the audience, soprano Elizabeth Blancke-Biggs’ performance throughout Tosca left little to be desired musically or dramatically. From her first entrance – the diminutive yet powerfully emotive and radiant-voiced singer was thoroughly captivating and believable.”
— Cape Cod Times
“Ms. Blancke-Biggs’ marvelous voice is always full and powerful, never shrill.”
— At the Theatre
Liù in Turandot
“Soprano Elizabeth Blancke-Biggs, a woman with a voice both lovely and penetrating, captured the essential simplicity and earnestness of the slave girl Liù, tenderly singing of her love for Calaf and her willingness to die for him.”
— The Grand Rapids Press