Adele in Die Fledermaus
Elizabeth Reiter shows off her facility with high notes and low comedy as Adele, the socially-climbing chambermaid. She may be the brightest spot in an already well-lit room.
-Chris Davis, Memphis Flyer
Aphrodite in Henze's Phaedra
Henze's meandering, atonal phrases are murderously difficult to sing precisely on pitch. Only Elizabeth Reiter, who sings Aphrodite, is fully up to the task. Singing spot on pitch, she brings the music suddenly into focus, revealing its Mozartian naturalness and grace. It is hard to believe Reiter is still a graduate student at Curtis - albeit one already boasting Tanglewood, Carnegie Hall, and European credits.
-Andrew Moravcsik, Opera Today
The Vixen in The Cunning Little Vixen
Elizabeth Reiter made a magnificent, adorable Vixen, crystal clear of voice and intention: this was fully a professional performance.
-David Shengold, Opera News
Amina in La Sonnambula
What a magnificent surprise to hear Elizabeth Reiter sing Amina, the sleepwalking soprano in danger of losing her groom-to-be. Reiter is first rank, no question... Reiter, a slip of a girl, acted very much a bride, full of enthusiasm she couldn't contain, later torn by despair. Her bel canto - huge, securely on pitch, playfully unforced - still rings in my ears.
-Lesley Valdes, Broadstreet Review/WRTI Radio
Zerlina in Don Giovanni
Elizabeth Reiter was a superb Zerlina, the voice rich and silvery, the character a feisty flirt.
-Matthew Guerrieri, The Boston Globe
Elizabeth Reiter's fully inflected, knowing but adorable Zerlina showed a fresh light lyric voice ready to assume this role anywhere.
-David Shengold, Opera Magazine
As Zerlina, Elizabeth Reiter gave a nuanced, neatly voiced performance; I am convinced that this young Roberta Peters is fully ready for any professional stage.
-David Shengold, Philadelphia City Paper
As Zerlina, Elizabeth Reiter spun out her vocal line to reveal a voice that grows richer as it goes higher.
-David Patrick Stearns, Philadelphia Inquirer
Soprano Soloist in Vaughan Williams’ Dona Nobis Pacem
In the first movement, Agnus Dei, the young soprano soloist Reiter was immaculate in her tone and intonation, and the innocence and purity of her singing made the prayer all the more touching.
-Matthew E. Campbell, Chautauquan Daily
Opera Theatre of Saint Louis Young Artist Benefit Concert
Reiter, who sang the role of Adele in Jane Eyre, has a lovely, high-flying voice, good presence, and the personality for the high-flying soubrette roles, without lapsing into mere perkiness. Her Rosenkavalier duet, with the rich-voiced (Jennifer) Feinstein, was lovely.
-Sarah Bryan Miller, St. Louis Post-Dispatch
Flora in The Turn of the Screw
Flora was rewardingly cast with an adolescent instead of the frequently encountered adult soprano; Elizabeth Reiter rose to the challenge with impressive musical polish.
-Mark Thomas Ketterson, Opera News
... and the students cast as the two children were brilliantly chosen. Soprano Elizabeth Reiter, slight of build, made Flora into a perfectly nervous pre-teen girl.
-Harvey Steinman, Aspen Times
Young Maria Celeste in Galileo Galilei
...the only redeeming moments being provided by Elizabeth Reiter, a little girl playing Galileo's daughter, who sang with a clarity and charm that set my mind wandering - again - to Deanna Durbin.
-Rupert Christiansen, The Daily Telegraph
Elizabeth Reiter floated sweet, pure tones as the young Maria Celeste.
-John von Rhein, Opera Now and Chicago Tribune
Elizabeth Reiter portrayed the winsome young Maria Celeste in a sweet, surprisingly rich voice.
-Wynne Delacoma, Chicago Sun-Times
Elizabeth Reiter was ideal as the young Maria Celeste.
-William R. Braun, Opera News
...Elizabeth Reiter's heartbreakingly clear voice as the young Maria Celeste...
-Rick Reed, Windy City Times
Elizabeth Reiter stands out as Galileo's young daughter; her clear soprano provides a welcome reprieve to this male dominated opera.
-Nina Metz, Newcity Chicago
The night I attended, Reiter's clear soprano stood out.
-Anne Spiselman, Hyde Park Herald