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Program Bios

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Soprano Elisabeth Marshall's sweetly focused sound projected the combination of piety and vulnerability implicit in arias like “How Beautiful Are the Feet” and “I Know That My Redeemer Liveth.”

Allan Kozinn for the Portland Press Herald, November 5, 2017, Messiah

Marshall’s voice is well suited to Schubert, her words clear, the descriptions and meanings in the poems crystal in her performance…Marshall and Friedman gave it artistry and meaning…excellently and expressively performed and a delight to hear”

                Seattle Sunbreak, Feb.24, 2017, Gallery Concerts' Schubertiade

"James Kallembach’s Four Romantic Songs are unabashedly so, the vocal lines rising in Straussian sweep, not only in the setting of “Allerseelen” that pays homage to the better-known version, but in the opening “The Coolin,” where Elisabeth Marshall’s radiant soprano soars and dips sensuously."

                OPERA NEWS, September, 2015, Vol.80, No.3: "Brooklyn Art Song Society: 'New Voices'" (CD review) 


Soprano Elisabeth Marshall made her Apollo Chorus debut. Her performance was smooth and artistic, a soothing lone voice in a sea of polyphony.”

                Chicago Stage Standard, December 2014, Messiah


"...Marshall brought a bell-like purity to her soprano solos..."

                  Chicago Stage and Cinema, December 2014, Messiah

"Elisabeth Marshall...gave [a] beautiful performance as the Queen of the Night...Marshall displayed real technical skill."

                  What's Peen Seen (London), 2013, The Magic Flute

"The famously-demanding role of the evil Queen of the played by American soprano Elisabeth Marshall...she climbs arpeggios to notes out of reach for many sopranos, and does so with satisfying precision."

                   Fringe Opera (London), 2013, The Magic Flute

"Marshall...possesses an admirably flexible, gilt-edged voice, which she utilized tellingly..."

                   Music in Cincinnati, 2010, Messiah

"Elisabeth Marshall as...Rosabella was a true ingénue, but...with considerably more vocal heft and richness than you’ll usually hear in those roles."

                    WFIU Arts & Music, 2009, The Most Happy Fella

The diamond in their midst, however, was Marshall, with a voice of maturity and radiant sheen."

                    Bloomington Herald Times, 2006, Mozart: Mass in C minor (Robert Levin edition collegiate premiere) 

"Elisabeth Marshall...offer[ed] resonance, beauty and flexibility of voice..."

                    Bloomington Herald Times, 2005, Haydn: Die Jahreszeiten

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