"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
American mezzo Elizabeth Bishop begins the 2018/19 season as a soloist in Beethoven’s Ninth Symphony with New Jersey Symphony Orchestra. She travels to Lyric Opera Chicago for the role of Madame de la Haltière Cendrillon before returning to The Metropolitan Opera for performances as Second Norn in Der Ring des Nibelungen where she also covers the roles of Fricka and Waltraute.
Last season’s highlights include her debut at Florida Grand Opera where she sang the role of Herodias Salome before joining Palm Beach Opera to sing Marcellina Le Nozze di Figaro. Performances of Mahler’s Second Symphony took the artist to Portland Symphony Orchestra and Winston-Salem Symphony. She ended the season in the role of Mary Der fliegende Holländer at Cincinnati Opera.
Recent highlights include appearances with her home company, Washington National Opera, in a role of Marcellina; at the Metropolitan Opera she sang the role of Mayor’s Wife/ Kostelnicka (c) Jenufa and at Portland Symphony she sang the role of Judith Bluebeard’s Castle. Other appearances included Cantaloube’s Songs of the Auvergne with Memphis Symphony, and Berlioz’s Te Deum with Winston Salem Symphony.
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Cendrillon, Lyric Opera of Chicago
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
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
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
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
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
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
Soloists Angela Meade, Elizabeth Bishop, Stuart Skelton and Marko Mimica sounded glossy and spirited.
Kate Molleson, The Guardian
Aida, Pittsburgh Opera
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
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
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
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
Bluebeard's Castle (Judith)
La Damnation de Faust (Marguerite)
La Favorita (Léonor)
Iphigenie en Tauride (Iphigenie)
The Grapes of Wrath (Ma Joad)
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)
Der Zerbrochene Krug (Frau Marthe Rull)
Götterdämmerung (Waltraute, Second Norn)
Harvey Milk (Mother)
The Crucible (Elizabeth Proctor)
Elizabeth Bishop’s Concert Repertoire
La Damnation De Faust
Songs of the Auvergne
Das Lied Von Der Erde
A Child Of Our Time
Serenade To Music