Elizabeth Weigle

Reviews

Handel's Messiah (American Bach Soloists, San Francisco)
"Soprano Elizabeth Weigle's fine-spun performance reached a zenith in "I know that my redeemer liveth," with her exquisite control of volume, pitch and line and her easy adornments."

San Jose Mercury News

Carmina Burana, (Pueblo Chorale)
"Elizabeth Weigle's crystalline soprano mourns the vicissitudes of love lost, culminating in her solo in "Sweetest one," reaching a D above high C that is nothing short of inspiring."

The Pueblo Chieftain

Aethelred the Unready, (American Symphony Orchestra)
"Soprano Weigle, as Emma, has dazzling vocal skills…"

New Music Connoisseur

Aethelred the Unready, (American Symphony Orchestra)
"Soprano Elizabeth Weigle underlined Emma's manipulations with an impressive range and agility."

American Record Guide

Pat Nixon, Nixon in China, (Opera Boston)
"Elizabeth Weigle was a perfect Pat Nixon, all cheery optimism masking underlying anxiety"

The Boston Herald

Pat Nixon, Nixon in China, (Opera Boston)
"...soprano Elizabeth Weigle delivered it with great poignance.... It seemed genuine because Weigle made Pat Nixon a figure of touching dignity."

The Boston Phoenix

Pat Nixon, Nixon in China, (Opera Boston)
"Although subtitles were in use, they were superfluous given the exceptional nature of the cast's enunciation, even the high sopranos of Elizabeth Weigle as Pat Nixon...Ms. Weigle's Pat was a genuinely moving, sweet and unpretentious woman, warm of voice and nature."

Opera-L@Listserv.cuny.edu

Soprano soloist, Charpentier program, (New York Collegium)
"The concert boasted an exciting pair of soprano soloists..., both beautifully accurate and both stylish in their handling of French Baroque ornamentation, particularly the trill at the end of a phrase. They also contrasted nicely with one another, as warm and cool, gold and silver. Happily there were plenty of opportunities to hear them duetting in the eight-part Mass that formed the main substance of the program and in the sprightly sacred narrative Canticum pro pace."

The New York Times

Governess, Turn of the Screw, (Manhattan School of Music)
"Moreover, Elizabeth Weigle… gave an impressive performance as the Governess. Her light, flexible soprano, with its pleasing middle range and penetrating top, was imaginatively applied to the shaping of her character."

The New York Times

Soprano soloist, Mahler's Symphony Number Four
(Absolute Ensemble)
"Elizabeth Weigle, a soprano, was the soloist in the Mahler and gave a lovely account of its child's view of heaven."

The New York Times