“…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.”

—liricamente.it

“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.” 


— www.teatro.it

“…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.”

— www.operaworld.es

“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.”

— Stefano Santini
Arte e Arti, 05/12/2015

“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
Una Voce Poco Fa, 07/2015

“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.” 


—Iván Martínez

El Universal, 04/07/2015

“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.”

—Claudia Magun
InterEscena, 26/06/2015

“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

“(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 …”
— Metro

“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

“… 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

“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.”

–El Pais

“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

“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

“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)