Elisabeth Reiter

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 her performances have included the title role in The Cunning Little Vixen, Anne Trulove in The Rake’s Progress, Armida in Rinaldo, Susanna in Le Nozze di Figaro, Valencienne in Die Lustige Witwe, Katja in Weinberg's Die Passagierin, Lauretta in Gianni Schicchi,

Nannetta in Falstaff, Pamina and Erste Dame in Die Zauberflöte, the title role in

Debussy’s La Damoiselle Élue, soprano soloist in a staged production of Händel’s Messiah, both Frasquita and Mercédès in Barrie Kosky's Carmen, and Woglinde, Helmwige, and Ortlinde in Wagner's Der Ring des Nibelungen (the latter available on DVD in collaboration with OehmsClassics), among others. Elsewhere in Germany, Ms. Reiter has performed Susanna with Oper Stuttgart and Najade in Ariadne auf Naxos with the

Deutsche Oper am Rhein in Düsseldorf.

Highlights for Ms. Reiter's 2018-19 Frankfurt season include her role debuts as Gretel in Hänsel and Gretel, Renee/Alice in Olga Neuwirth’s Lost Highway, and Brigitta in Iolanta, as well as return appearances as Valencienne in Die Lustige Witwe, Armida in Rinaldo and Ortlinde in Die Walküre. On the concert stage, Ms. Reiter will sing Barber’s Knoxville: Summer of 1915 with the BBC Scottish Symphony Orchestra under the baton of John Wilson as well as a concert of Joseph Marx and Erich Korngold Lieder with the Jenaer Philharmonie. She will spend the summer of 2019 singing Erste Dame in Die Zauberflöte with Oper im Steinbruch.

In the United States, Ms. Reiter received international attention for her portrayal of Aphrodite in the American premiere of HW Henze’s Phaedra with Opera Philadelphia, where she has also appeared as 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), La libellule in L’Enfant et les Sortiléges with Lorin Maazel (Castleton Festival), Adele in the American premiere of Michael Berkeley’s Jane Eyre (Opera Theatre of Saint Louis, Sir Colin Graham directing), and the title role in La Sonnambula, Corinna in Il viaggio a Reims, and Zerlina (Curtis Opera Theatre).

A frequent interpreter of new music, Ms. Reiter made her professional 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 with composer 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.

As a concert performer, Ms. Reiter has appeared on the stage of the Frankfurt Alte Oper as soprano soloist in Mozart’s Requiem and with Frankfurt’s Ensemble Modern singing Sofia Gubaidulina’s Hommage à T.S. Eliot. Elizabeth has also been heard as soprano soloist in Weill’s Royal Palace at the Bard Music Festival with the American Symphony Orchestra, Vaughan Williams’ Dona Nobis Pacem with the Chautauqua Music Festival Orchestra and Mahler’s Symphony No. 4 with the Manhattan School of Music Philharmonia.

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.