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Quite a few cast members are making their role debuts, such as the central figure soprano Elizabeth Reiter as Tatiana. She has been a member of the Frankfurt Opera Ensemble for almost ten years and yet still appears so youthfully fresh that the role of the inexperienced Tatiana seems tailor made for her. With great naturalness and dedication, she portrays a sensitive young woman who matures

through pain. Her demonstration of her great vocal quality was not limited to her letter scene. No wonder she received the strongest

applause of the evening.

~Kulturfreak (Eugene Onegin)

We've now come to the absolute star of the evening, Elizabeth Reiter in the role of Fiorella, the

manipulative daughter of robber chief Falsacappa.

She delivered a truly perfect performance in terms of singing, dancing and stage presence, outplaying everyone, the latter without any negative connotations. What a fine, beautiful, clear tone she has, which remained at the same high level even after extravagant

dancing efforts. But also: a great actress, a comic talent and a dancer with more swing in her body than the entire Phylli Sound combined. All this just to say:

we were deeply impressed...

~Opera Gazet (Die Banditen)

But the phenomenal Elizabeth Reiter surpasses them all. As Asteria, she presents herself at the pinnacle of her abilities through an astonishing wealth of vocal nuance. With flawless technique, she offers coloratura, hurls angry cascades of sound at her tormentor, but at the same time, in quieter passages, creates heartfelt sincerity. Every emotion is attested musically, every phrase is filled with expression.

~Der Opern Freund (Tamerlano)

American soprano and ensemble member Elizabeth Reiter made a phenomenal role debut. Her agile, powerful and dramatically expressive voice was an ideal fit for the shrewd, savvy title character.

~Opera News (Die Kluge)

Elizabeth Reiter’s Anne Trulove brought some of the most accomplished soprano singing I’ve heard in a long while. Her tone is clear and surprisingly mezzoish,

her projection of the words is full of meaning and her musical phrasing well judged.

Her extended aria at the end of Act 1, "No word from Tom", was a masterpiece

of pacing and characterization, enhanced by her expressive delivery.

~Bachtrack (The Rake’s Progress)

Through Elizabeth Reiter’s combining of text and music and her ability to express the songs, one can hear how one of the great Richard Strauss interpreters of the next generation is developing.

~Ostthüringer Zeitung (Jenaer Philharmonie Concert)

Elizabeth Reiter


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