Elizabeth Bishop


"The love triangle was completed with the beautifully sung Amneris of Elizabeth Bishop, who gave a richly nuanced portrayal."

Rick Perdian, Seen and Heard international

"Impressive in the role of Brangäne, local audience favorite, mezzo-soprano Elizabeth Bishop was strong and convincing..."

Terry Ponick, Wahsington Times

"An impeccably balanced, sensitively nuanced ensemble of singing actors included Elizabeth Bishop as the sympathetic Mère Marie..."

Martin Bernheimer, Financial Times

"Mezzo Elizabeth Bishop sang with plush tone as Mother Marie..."

Mike Silverman, Huffington Post

"...very convincing was Elizabeth Bishop as Fenena."

Arlene Judith Klotzko, Concertonet

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American mezzo Elizabeth Bishop begins the 2019/20 season by returning to The Metropolitan Opera in the role of Marcellina Le Nozze di Figaro. The artist travels to Texas to perform the role of Herodias Salome with Dallas Symphony Orchestra before joining Park Ridge Civic Orchestra for performances of Mahler’s Das Lied von der Erde. With The Choral Arts Society of Washington she features as soloist for Copeland’s In the Beginning and the Brahms Alto Rhapsody.

Last season saw the artist appear as a soloist in Beethoven’s Ninth Symphony with New Jersey Symphony Orchestra and at Lyric Opera Chicago she stepped into the role of Madame de la Haltière Cendrillon. She returned to The Metropolitan Opera for performances as Second Norn/Fricka (c)/Waltraute (c) Der Ring des Nibelungen.

Recent highlights include her debut at Florida Grand Opera as Herodias before joining Palm Beach Opera to sing Marcellina, a role she also sang at Washington National Opera. She sang Mary Der fliegende Holländer at Cincinnati Opera, and at Portland Symphony the role of Judith Bluebeard’s Castle.

Successes elsewhere include Mere Marie Dialogues of the Carmelites, Fricka Das Rheingold and Die Walküre at Washington National Opera; concert performances of Beethoven’s Ninth Symphony with BBC Scottish Symphony Orchestra under Donald Runnicles and at the Grand Teton Music Festival, Verdi’s Requiem with the Baltimore Symphony Orchestra, her debut as Herodias at Cincinnati Conservatoire and Brangäne Tristan und Isolde in concert at North Carolina Opera.

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Cendrillon, Lyric Opera of Chicago

January 2019

Elizabeth Bishop savoured the vain haughtiness of Madame de la Haltière, the wicked stepmother, with a glee as grotesque as the bulbous derrières Pelly designed for her brightly coloured costumes

John von Rhein, Opera Magazine, April 2019

The American mezzo Elizabeth Bishop clearly delights in her bustle-wagging role as Mme. de la Haltiere, Cinderella’s grotesque stepmother, who emasculates her husband and tries desperately to turn her two empty-brained daughters (soprano Emily Pogorelc and mezzo Kayleigh Decker) into bait for the Prince.

WTTW, Hedy Weiss, 5 December 2018

Mezzo-soprano Elizabeth Bishop is the story's comic star—deliciously horrid as the stepmother with regal ambitions for her own two klutzy daughters.

Deanna Isaacs, Chicago Reader, 4 December 2018

...while the best performances come from the gorgeous fairy godmother (Marie-Eve Munger) and the wicked stepmother (Elizabeth Bishop).

Tamara L. O'Shaughnessy, Chicago Parent, 3 December 2018

Elizabeth Bishop was a worthy villainess as the battleaxe Madame de la Haltière, Lucette’s evil social-climbing stepmother. The veteran mezzo sang solidly, particularly in her Act 3 moment recalling her vaunted family lineage.

Lawrence A. Johnson, Chicago Classical Review, 3 December 2018

Le Nozze di Figaro, Palm Beach Opera

March 2018

Bishop possesses the mezzo low tones and comic chops for Marcellina.

South Florida Classical Review, Laurence Budmen, 24 March 2018

…..Elizabeth Bishop as Marcellina monopolized the attention when they were on the stage.

Palm Beach Daily News, Marcio Bezerra, 25 March 2018 ​

Salome, Florida Grand Opera

January 2018

The role of Salome’s mother Herodias is difficult to bring off. She spends most of her time onstage complaining about Jochanaan’s disrespect and encouraging Salome’s vicious impulses. Elizabeth Bishop managed to cut a proud, imperious figure and her impressive mezzo voice made the most of her pronouncements without appearing shrewish.

South Florida Classical Review, Lawrence Budmen, 28 January 2018

Another veteran singer, mezzo Elizabeth Bishop, was a very fine Herodias, an unsympathetic but formidable character for whom Bishop provided penetrating, forceful vocalism.

Palm Beach Arts Paper, Greg Stepanich, 31 January 2018

Le nozze di Figaro, Washington National Opera

October 2016

Among the supporting cast, Elizabeth Bishop’s touchy Marcellina stood out, recalling her nuanced Fricka in Washington’s new Ring Cycle produced late last season.

ConcertoNet,Paul du Quenoy, 4 October 2016

The principal singers are equally matched by the even more comedic and challenging roles of Marcellina...brought to life with skill and panache ... by Elizabeth Bishop...

Broadway World, Jeffrey Walker, 29 September 2016

Elisabeth Bishop, who had played Wotan’s wife, a formidable queen of the gods, stunned me. Bishop dropped her gravitas at the stage door to play Marcellina, a particularly fussy mischief-maker. She threw herself into the choreography with energetic and comedic enthusiasm and clearly knew how to bring out the lightness of Mozart.

DC Theatre Scene, Susan Galbraith, 26 September 2016

Other notable performances include WNO veteran Elizabeth Bishop...

MD Theatre Guide, Jennifer Minich, 23 September 2016

Elizabeth Bishop’s Marcellina was as sound as you’d expect if you heard her Fricka in last year’s “Ring” cycle...

Washington Post, Anne Midgette, 23 September 2016

Der Ring des Nibelungen, Washington National Opera

May 2016

I have never seen a Fricka so convincing or more sympathetic (or, for that matter so vocally pleasingly powerful.) … Bishop avoids making her a shrew... Bishop and Held do remind me of another couple, he demonstrably another Wotan who was also a “force of nature” that she had to bear up under. Both Held and Bishop taught me something in their performances about economy of means of a gesture, a turn of the head. Watching how well they knew and could physically play and re-enforce Wagner’s music was like watching master surfers catch and ride a great wave. But when they needed to, they held still and listened. (Das Rheingold)

Susan Galbraith, DC Theatre Scene, 2 May

Once again, Elizabeth Bishop redeemed Fricka from being a mere scold into something more morally convincing: getting the upper-hand over Wotan by degrees, eventually sitting in his place, reading his newspaper. Her presence, above the scene of Siegmund’s slaughter was chilling, and she took on the ultimate gesture of power, tearing up the contract she had made Wotan sign for his son’s death, and dropping the pieces beneath. (Die Walküre)

Hilary Stroh, Bachtrack, 3 May

Elizabeth Bishop almost stole the show with her tremendous and moving singing as Fricka. Bishop is one singer who has accompanied this production from the beginning, and it must be bittersweet to be letting it go. (Das Rheingold/Die Walküre)

Anne Midgette, Washington Post, 19 May

Elizabeth Bishop was strong and dignified and nuanced as Fricka. (Die Walküre)

Anne Midgette, Washington Post, 3 May

To my mind, there were at least three singers whom we got to experience who were simply the best. Instead of a relentless mono-volume wall of sound, which is all too often what Wagnerian productions serve up, Goerke, along with Elizabeth Bishop and Alan Held, shape and interpret the score as strategically as the characters do their god-deals. These singers never over-sing, and while they can pull out the stops as needed, their intelligence is what marks their performances as great. They raised the entire cast to their best levels… (Die Walküre)

Susan Galbraith, DC Theatre Scenes, 4 May

Elizabeth Bishop hit her stride as Fricka, more imperious and venomous in her characterization, backed up with great vocal force. (Die Walküre)

Charles T. Downey, Ionarts, 4 May

Elizabeth Bishop’s canny Fricka returned here for a very engaging ram-chariot scene, producing a warm, generous tone in her earnest appeals to Wotan’s sense of duty. (Die Walküre)

Alex Baker, Parterre.com, 4 May

Dialogues of the Carmelites, Washington National Opera

February 2015

Elizabeth Bishop’s security in the role of Mother Marie comes possibly from her having sung the role in opera houses around the world. Her performance is spot on, and she brings many colors to demonstrate the complexity of her character. She seems the “good soldier” covering for (and covering up) the changed personality of the dying Abbess, then a woman seething with envy – an “Iago” my companion pointed out – when she is overlooked in the passing of leadership. The warmth she can bring vocally is fully realized in the scene where she seeks out Blanche and becomes the compassionate mentor. But does this Mother Marie also succumb to fear, rationalizing even scheming her way out of a martyr’s death?

Susan Galbraith, DC Theatre Scene

Beethoven Ninth Symphony, BBC Scottish Symphony Orchestra

November 2014

Soloists Angela Meade, Elizabeth Bishop, Stuart Skelton and Marko Mimica sounded glossy and spirited.

Kate Molleson, The Guardian

Aida, Pittsburgh Opera

October 2013

The love triangle was completed with the beautifully sung Amneris of Elizabeth Bishop, who gave a richly nuanced portrayal. In the opening scene, Amneris was young, playful and in love.

Rick Perdian, Seen and Heard International

Elizabeth Bishop gave an excellent portrayal of Amneris, one that generated real sympathy for her situation. Her powerful mezzo had the steel for a daughter of the king, and she controlled it with mastery that was nuanced to her changing moods — stong-willed, conflicted, cunning and vulnerable.

Mark Kanny, Pittsburgh Tribune

Tristan and Isolde, Washington National Opera

September 2013

Impressive in the role of Isolde’s lady’s maid and confidante, Brangäne, local audience favorite, mezzo-soprano Elizabeth Bishop was strong and convincing, particularly in the later acts.

Terry Ponick, Washington Times

No complaints for the Brangäne of Elizabeth Bishop. She gave a performance that was beautifully sung and acted. Her voice is so lovely, plump, and rounded…a perfect Wagnerian mezzo.

Micaele Sparacino, ConcertoNet

Dialogues des Carmélites, Metropolitan Opera

May 2013

The excellent young American mezzo-soprano Elizabeth Bishop is a vocally lustrous and moving Mother Marie. (She did double duty at the Met on Saturday, taking over in the evening as Fricka in Wagner’s “Rheingold” for Stephanie Blythe, who was ill.)

Anthony Tommasini, The New York Times

Elizabeth Bishop brought fervor and a lush, firm sound to the role of Mother Marie.

Marion Lignana Rosenberg, The Classical Review

Mezzo Elizabeth Bishop sang with plush tone as Mother Marie, who is prevented by fate from joining her sisters in death.

Mike Silverman, Huffington Post

Elizabeth Bishop showcased a vibrant and powerful voice in the role of the anxious Mother Marie.

David Salazar, Latinos Post

Elizabeth Bishop, yet another mezzo, excelled as Sister Marie, with her robust, beautiful sound.

Richard Sasanow, Broadway World

Il Trovatore, Utah Opera

October 2012

Mezzo-soprano Elizabeth Bishop, who portrays the Gypsy woman Azucena, was arguably the standout on opening night Saturday, singing with power and finesse all evening.

Catherine Reese Newton, The Salt Lake Tribune

Elizabeth Bishop’s Opera Repertoire


Vanessa (Erika)


Bluebeard's Castle (Judith)


Norma (Adalgisa)


La Damnation de Faust (Marguerite)


La Favorita (Léonor)
Maria Stuarda (Elisabetta)
Roberto Devereux (Sara)


Iphigenie en Tauride (Iphigenie)


The Grapes of Wrath (Ma Joad)


Sapho (Sapho)


Jenufa (Burjya, Kostelnichka)


Cavalleria Rusticana (Santuzza)


L'Incoronazione di Poppea (Ottavia)


Boris Godunov (Marina)


Les Contes d'Hoffmann (Giulietta, Mother of Antonia)


Dialogues des Carmelites (Mere Marie)


War and Peace (Maria Bolkonskaya)


Guillaume Tell (Hedwige)


The Handmaid's Tale (Offred)


The Maid of Orleans (Ioanna)


Hamlet (Gertrude)


Der Zerbrochene Krug (Frau Marthe Rull)


Aida (Amneris)
Don Carlo (Eboli)
Falstaff (Meg Page)
Il Trovatore (Azucena)
Nabucco (Fenena)
Otello (Emilia)


Götterdämmerung (Waltraute, Second Norn)
Parsifal (Kundry)
Das Rheingold (Fricka)
Tannhäuser (Venus)
Tristan und Isolde (Brangäne)
Die Walküre (Fricka, Sieglinde)


Harvey Milk (Mother)


The Crucible (Elizabeth Proctor)

Elizabeth Bishop’s Concert Repertoire


Christmas Oratorio
Mass In B Minor


Missa Solemnis
Symphony No. 9


La Damnation De Faust
Le Mort De Cléopâtre
Les Nuits D'Été


Alto Rhapsody


Songs of the Auvergne




Judas Maccabaeus




Das Lied Von Der Erde
Lieder Eines Fahrenden Gesellen
Symphony No. 2
Symphony No. 3
Symphony No. 8


Symphony No. 2


Coronation Mass
Mass In C Minor


A Child Of Our Time


Serenade To Music




Wesendonck Lieder

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