top of page




Recognized for her vocalism and artistic commitment in both classical and contemporary operatic repertoire, American soprano Elizabeth Reiter has garnered critical acclaim for her

“rich and silvery” voice (The Boston Globe) and “impressive musical polish” (Opera News), characterizing her as “terrific, a very vital lyric soprano with stellar pitch and attack

wedded to fiercely communicative instincts.” (Opera Magazine)

Ms. Reiter is currently a member of the prestigious Oper Frankfurt ensemble, where she has been lauded for her performances in a variety of roles, including the classics 

(Tatiana in Eugene Onegin, the title role in The Cunning Little Vixen, Gretel in Hänsel und Gretel, and Anne Trulove in The Rake’s Progress), Handelian (Asteria in Tamerlano,

Armida in Rinaldo, and Melissa in Amadigi), contemporary (Renee/Alice in Neuwirth's

Lost Highway and Amanda in Ligeti's Le Grand Macabre), and Operetta (Valencienne in

Die Lustige Witwe and Fiorella in Offenbach's Die Banditen), among many others.

Elsewhere in Europe, Ms. Reiter has performed Tatiana with the Norwegian National Opera

in Oslo, Susanna in Le Nozze di Figaro with Oper Stuttgart, Freia and 3. Norn in Wagner's Ring with the Tiroler Festspiele Erl, Erste Dame in Die Zauberflöte with

Oper im Steinbruch and Theater Dortmund, Ortlinde in Die Walküre with Staatstheater Kassel, and Najade in Ariadne auf Naxos with the Deutsche Oper am Rhein in Düsseldorf.

In the United States, Ms. Reiter will return to Opera Philadephia in the 2024-25 season as

Donna Elvira in Don Giovanni, having previously appeared there as Aphrodite in the

American premiere of HW Henze’s Phaedra, the title role in The Cunning Little Vixen, Blonde in Die Entführung aus dem Serail, and Amor in Orphée et Eurydice. Other notable

US appearances include Zerlina in Don Giovanni under the baton of James Levine (Tanglewood Music Center), Pamina in The Magic Flute and Flora in The Turn of the Screw (Chicago Opera Theater),  Adele in Die Fledermaus (Opera Memphis), and

La libellule in L’Enfant et les Sortiléges with Lorin Maazel (Castleton Festival).

On the concert stage, Ms. Reiter was recently heard in a concert of Handelian Arias with the

Bilbao Symphony Orchestra under the baton of music director Erik Nielsen, as well as in Barber’s Knoxville: Summer of 1915 with the BBC Scottish Symphony Orchestra

under the baton of John Wilson. Other concert highlights have included a selection of Joseph Marx and Erich Korngold Lieder with the Jenaer Philharmonie under Christoph Altstaedt,

a New Year's Eve Concert of Kálmán Operettas with the Tiroler Festspiele Erl under

Alexander Prior, as soprano soloist in Mozart’s Requiem on the Frankfurt Alte Oper stage,

and with Frankfurt’s Ensemble Modern in Sofia Gubaidulina’s Hommage à T.S. Eliot

A frequent interpreter of new music, Ms. Reiter made her professional solo debut at the age of 16 as Young Maria Celeste in the world premiere of Philip Glass and Mary Zimmerman’s

Galileo Galilei (Chicago’s Goodman Theatre, Brooklyn Academy of Music, and London’s Barbican Center). She later returned to the Goodman Theatre as Polyxena in Zimmerman’s staging of Seneca’s Trojan Women, singing an aria specially composed by Philip Glass.

Apart from the opera stage, Elizabeth has collaborated with composer Libby Larsen on her

Songs from Letters at the Ravinia Music Festival and the late André Previn on his

Sallie Chisum remembers Billy the Kid both at the Tanglewood Music Center and in a

televised performance in Tokyo with the composer at the piano.


Ms. Reiter received her graduate degree from the Curtis Institute of Music and her undergraduate degree from the Manhattan School of Music, with additional studies at the Steans Institute at Ravinia Music Festival, Tanglewood Music Center, Aspen Music Festival, Chautauqua Institution, and as a Gerdine Young Artist with Opera Theatre of Saint Louis. Originally from Chicago, Elizabeth received her earliest operatic training as a member of the children’s chorus with the Lyric Opera of Chicago.


Elizabeth Reiter


bottom of page