Elizabeth DeShong

Elizabeth DeShong


Vocalists — Mezzo-Soprano

“Even more impressive was Elizabeth DeShong as Calbo, a bellicose Venetian general with a human side. Barring a return to the stage by Marilyn Horne, there could be no better demonstration of the viability of a woman in a heroic male role. Vibrant tone, pyrotechnic technique, intense stage presence, spot-on-diction: this American mezzo-soprano has it all.” —National Post

"The Adalgisa of mezzo-soprano Elizabeth DeShong enlightens and enlivens the story’s...arc with vocal and emotional depth, the range of each seemingly insuperable; she is the Marilyn Horne of our time." —Newcity Stage

“Adalgisa's tessitura encompasses contralto-like depths and soprano heights, a huge vocal compass that was at DeShong's ready command. What's more, her velvety, focused and pliant vocalism supported a credible characterization. It was good to have one of the Ryan Opera Center's star alumni back at the company that launched her career.” —Chicago Tribune

"As Norma's friend and not-so-virginal vestal, Elizabeth DeShong proved an admirable Adalgisa. Her wide-ranging mezzo-from high notes to contralto-like dark tones- handled the role's demands with aplomb. She brought fire to her confrontation with Pollione and blended fluently with Radvanovsky in the extended duet, "Mira o Norma." —Chicago Classical Review

"It is dominated by DeShong, whose voice combines a contralto opulence with blazing top notes and some of the most staggering coloratura you will ever hear." —The Guardian

"And Crocetto’s Anna, as wonderful as it was, competed for attention with the amazing mezzo of Elizabeth DeShong, playing, as a trouser role, Calbo, a Venetian General, and Anna’s would-be beau. What a sound DeShong made all evening! She reminded us that a mezzo-soprano is merely a soprano with an enhanced lower range, so that DeShong traversed an enormous vocal compass in her part, with a thrilling timbre throughout. Her second act aria, reminding Anna’s father of his daughter’s loyalty, was a staggering show stopper." —Toronto Globe and Mail

About

Of Elizabeth DeShong’s performance of the title role of Rossini’s La Cenerentola at the Glyndebourne Festival, The Guardian wrote: “…this is, quite simply, one of the great operatic performances. It is dominated by DeShong, whose voice combines a contralto opulence with blazing top notes and some of the most staggering coloratura you will ever hear…”

In the current season, Ms. DeShong debuts with the Royal Opera and Bayerische Staatsoper as Suzuki in Madama Butterfly and returns to Lyric Opera of Chicago as Adalgisa in Norma. In concert, she performs . . .

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    • photo credit: Kristin Hoebermann
      photo credit: Kristin Hoebermann
    • photo credit: Kristin Hoebermann
      photo credit: Kristin Hoebermann

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