“Elisabeth Meister stands out in the title role. Aïda offers a splendid opportunity to display the vocal abilities for a lirico spinto with something of a soprano dramatica, such as messa di voce in her two major arias and two great duets, fiato largo, piano and pianissimo, fortissimo. Meister showed a lyric line with beautiful top notes, suitable qualifications and consistent projection, which gain control from the Nile act onward, making a compelling deliverance in the tomb duet.”
Andrew Yaksic, El Mercurio
on Aïda, Teatro Municipal de Santiago, November 2011
Read full article here (in Spanish): Aida review, el Mercurio.tiff
“The role of Aïda, sung by Elisabeth Meister, was lavish in musicality, showing a line of beautiful and expressive singing, her fortes are powerful, and her pianissimi of great beauty, adding to the above a very convincing performance, aspects that made her widely successful. We will not forget the aria "Ritorna vincitor" where she reflected all the ambiguity of feelings; something similar happened in "O Patria mia", which was very moving; also Act Three, which she showed great ambivalence, and her final scene.”
Gilberto Ponce Vera, visionescriticas.cl
on Aïda, Teatro Municipal de Santiago, November 2011
Read full article (in Spanish)
“Soprano Elisabeth Meister (Lucrezia) and bass Lukas Jakobski (Duke Alfonso) astonished in their highly dramatic scene. Jakobski's effortless bass voice is a wonderful tool and was well matched by Meister’s musicality and technical assurance. Both of these artists would bring quality to any of the world's opera houses.”
Agnes Kory, musicalcriticism.com
on the JPYA Summer Performance 2011
“This scene was executed superbly well. As Lucrezia, Elisabeth Meister had a thrilling, full-throated delivery of tingle-factor excitement; a glorious voice. The Alfonso of Lukas Jacobski was full of brooding menace, a figure of palpable evil. He could well be a terrific Sparafucile, the assassin in Verdi’s Rigoletto. Like Meister, Jacobski is a fine actor as well as possessing a marvellous voice. They drew sparks off each other in stage and musical chemistry.”
Michael Darvell, classicalsource.com
on the JPYA Summer Performance 2011
“Elisabeth Meister is a worthy successor [to Joan Sutherland] to sing the Borgia, as her blistering soprano easily scaled the heights of the role, throwing off fiendishly difficult and stentorianly powerful top Cs with nonchalant ease. Her cabaletta “Oh! a te bada, a te stresso pon mente” was a vicious flurry of coloratura, which quite stole the show and took my breath away. Having heard practically every young artist Covent Garden has produced on both the Jette Parker and Albert Vilar programmes, I can sincerely say that I have yet to hear a singer quite so impressive. She is also an adept actress, who inhabits her roles totally, rather than merely applying a veneer of artistic credibility to the surface. This Lucrezia was a dangerous vamp who offered a masterclass in bel canto singing – oh to have heard her sing the “Era desso”. No wonder the Chicago Lyric Opera have snapped her up.”
Antony Lias, opera-britannia.com
on the JPYA Summer Performance 2011
“Elisabeth Meister’s Lucrezia stomped about imperiously and embodied well both villainy and motherly concern. Her vocal security and volume were impressive, as was her Alfonso, Lukas Jakobski’s, imposing height and brooding menace. Together Meister and Jakobski showed great stage chemistry.”
Jim Pritchard, seenandheard-internationl.com
on the JPYA Summer Performance 2011
“One high point was the tense scene from Donizetti’s Lucrezia Borgia that opened part two...Elisabeth Meister was a Lucrezia to reckon with – what a commanding figure this fine soprano has become during her Jette Parker years!”
Mark Valencia, whatsonstage.com
on the JPYA Summer Performance 2011
“Elisabeth Meister, a Jette Parker Young Artist, demonstrated an intelligent appreciation of the musical and dramatic demands of the role; she’s an intelligent singer who knows when to bring forth the finer details and when to blend with the ensemble.”
Claire Seymour, Opera Today
on Macbeth, Royal Opera House, Spring 2011
“It must be said that the Doctor (Lukas Jakobski) and the Lady-in-waiting (Elisabeth Meister) contribute to this scene with fine legato singing of their own, a spectral Scotch mist of ensemble singing at just the right moment in the opera.”
Gavin Plumley, framescourer.blogspot.com
on Macbeth, Royal Opera House, Spring 2011
“...the best singer by far was Elisabeth Meister as a radiant Penitent.”
Jim Pritchard, seenandheard-internationl.com
on Mahler’s 8th Symphony, Royal Albert Hall, May 2011
“Elisabeth Meister’s luxurious and powerful dramatic soprano arched some impressive phrases throughout the cavernous auditorium and clearly relished the challenges of those terrifying top Cs. This is a voice absolutely made for Strauss, as the heft of the voice is never compromised by the timbre...in Meister’s case vocal beauty and refulgence of tone go hand in hand.”
Antony Lias, opera-britannia.com
on Mahler’s 8th Symphony, Royal Albert Hall, May 2011
“Elisabeth Meister, is a rare combination of pragmatism, serious intent, personal warmth and infectious energy...Meister’s success is obviously a combination of long-term planning, intensive hard work and training.”
Claire Seymour, Opera Today
“Elisabeth Meister...was, for me, the real find of this production. This is a very special voice which I began to envisage in Wagner and indeed as Turandot. What a privilege to hear a soprano who I hope will be a future star.”
Miranda Jackson, opera-britannia.com
on L’isola disabitata, Linbury Studo
Royal Opera House, October 2010
“Elisabeth Meister portrayed the abandoned wife Costanza with great dignity and pathos...I sensed we were only getting half what she’s capable of in a lightweight piece like this.”
intermezzo.typepad.com
on L’isola disabitata, Linbury Studo
Royal Opera House, October 2010
Elisabeth Meister’s antics as Mariandel made her the centre of attention when she was on stage – and this was repeated every time she was involved in something...she gave a very moving portrayal of Capriccio’s Countess Madeleine throughout the ensuing duel for her affections by way of the debate about what has supremacy in opera, the words or the music...[she] seemed really at home in the piece performing Marietta with all the gawky, laddish, enthusiasm of the up-and-coming TV comedienne Miranda Hart.
Jim Pritchard, MusicWeb International
on the JPYA Summer Performance 2010
“You assume that you have the measure of her talent, when in fact you have only experienced but a fraction of it...One suspects that there is not another dramatic soprano performing today who has quite such a lustrous, yet ferociously incisive top...It was a prodigious performance that made you want to leap out of your chair screaming bravo...Meister isn’t just a prodigious voice, she is also an excellent communicator of the text and a vivid personality to boot...”
Antony Lias, opera-britannia.com
on Sure on this Shining Night, Dulwich Choral Society, June 2010
“...the most consistently musical singing comes from the off-stage Priestess...the ever-excellent Elisabeth Meister.”
Keith McDonnell, musicomh.com
on Aïda, Royal Opera House, Spring 2010
“A special mention for Elisabeth Meister, quite exceptional as the High Priestess”
intermezzo.typepad.com
on Aïda, Royal Opera House, Spring 2010
“Elisabeth Meister delivered a magnificently sung High Priestess, producing perhaps the most beautiful and attractive singing of the entire evening...Judging by the size of the instrument and the confidence with which it is used, Aida would certainly be well within her own personal capabilities. And it wouldn’t be the first time a High Priestess went on to sing the lead role.”
Antony Lias, opera-britannia.com
on Aïda, Royal Opera House, Spring 2010
“Elisabeth Meister provided some of the best singing of the evening as High Priestess.”
Dominic McHugh, musicalcriticism.com
on Aïda, Royal Opera House, Spring 2010
“Perhaps the most startling drama of the evening was off-stage, as it was announced that the Fox had been taken ill. However, with commendable resolve the Royal Opera went to [her] cover, the Jette Parker Young Artist Elisabeth Meister, to take over. This was a remarkable debut under the circumstances. More than just secure, Meister is charismatic, entertaining and a natural fit with [Australian soprano Emma] Matthews, singing freely and with considerable dynamic control into the bargain. The inevitably rowdy curtain call was well-deserved.”
framescourer.blogspot.com
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“Elisabeth Meister saved the day and made an auspicious debut as the Fox. She has a bright, laser-like soprano and unlike most mezzos who insist on singing this role, encountered no problems with the high-lying tessitura of the part. She is definitely a name to watch.”
Keith McDonnell, musicomh.com
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“Elisabeth Meister, a substitution as the fox, was full of manly swagger enjoyably over-compensating for his shyness around Sharp Ears (and a mix of steel and elegance in Meister’s soprano suggests a big career ahead).”
James Inverne, gramophone.co.uk
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“The pressure was on, but stand-in Elisabeth Meister delivered a flawless masterclass in under-study professionalism.”
Dan Keel, newsshopper.co.uk
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“The entry of the Fox (Elisabeth Meister) at the end of Act Two heralded the fist sign of something special stirring on stage. Remarkably, Meister was a last minute stand-in. Her boyish vitality put the rest of the cast to shame.”
Igor Toronyi-Lalic, theartsdesk.com
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“Meister sailed through the tessitura which taxes mezzo-sopranos far too unkindly, but which offers the secure soprano some beautiful moments in the upper reaches of the middle register. More importantly, Meister brought personality to the stage. Her tom-boyish Fox bristled with energy and was rewarded by a very enthusiastic reception from the audience. She is a natural stage animal and her debut was undoubtedly an important one.”
Anthony Lias, opera-britannia.com
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“Elisabeth Meister, stepping in to cover an ailing singer, looks like she has a bright future. A rich voice and a charming persona, I was smitten.”
tttcritic.blogspot.com
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“At very short notice her understudy Elisabeth Meister was promoted from singing a minor role and it is to the enormous credit of both herself and the professionalism of Covent Garden that she gave an excellently poised and confident performance. Her voice and actions blended in particularly well in the scenes with Emma Matthews as the Vixen.”
William Hartston, dailyexpress.co.uk
on The Cunning Little Vixen, Royal Opera House, Spring 2010
"A terrific supporting cast included notable contributions from Elisabeth Meister, an excellent late substitute as the Fox."
Rupert Christiansen, The Daily Telegraph
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“All praise to understudy Elisabeth Meister for taking over the role of the Fox so admirably at 24 hours’ notice."
Barry Millington, Evening Standard
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“Whatever [Charles Mackerras’] secret, his triumph should be shouted from the rooftops, as should that of Elisabeth Meister. She stepped in to sing the Fox at the last minute on Friday and made a great splash with her rich, powerful upper register and swaggering acting.”
Warwick Thompson, Metro
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“There are some vital performances, with Elisabeth Meister stepping up on the first night as cover for the Fox to present it with energy and definition.”
George Hall, thestage.co.uk
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“Elisabeth Meister ... proved a winning replacement, moving in her love for the Vixen: an anthropomorphic fantasy, maybe, but an irresistible one.”
Mark Berry, operatoday.com
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“Special credit to Elisabeth Meister, who stood in as the Fox at barely a day's notice. She's charismatic, a born actress with genuine presence, particularly as she's very young and still a Jette Parker Young Artist. Definitely a debut to remember.”
classissima.com
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“Elisabeth Meister, the short-notice substitute Fox, had the lung power to cut through the orchestra consistently. Making the most of her golden opportunity, she gave a sparky, uninhibited performance.”
intermezzo.typepad.com
on The Cunning Little Vixen, Royal Opera House, Spring 2010
“Anja Harteros and Sondra Radvanovsky lead the field today with some exemplary singing, bringing with them a sense of style and Verdian panache. In the not too distant future I feel absolutely certain that Elisabeth Meister will join their company. Although she is currently a member of the Jette Parker Young Artist Programme at The Royal Opera, her soprano solo in the Verdi Requiem was amongst the most thrilling performances I have ever heard. In full cry it is a staggering voice. She wielded unyielding power, with a mighty top that ripped through the combined forces of the orchestra and the chorus during the climactic octave assent to a tumultuous high C in the Libera me. Her urgent reading of the score was the perfect fusion of drama and exemplary singing. I was nailed to my seat. But it is not all about blood and thunder with Meister, the notorious pianissimo high B Flat (marked pppp) in the same section was taken with exquisite poise, perfectly placed and delivered with exceptional purity of tone. Meister’s middle register is positively stentorian at full steam, but the top, whilst similarly powerful, is distinguished by its size and beauty. Most dramatic sopranos tend to veer towards either the bright and the penetrating or the ugly and brutal in their upper register, whereas Meister has more in common with the likes of Sutherland at the very top, by producing endless streams of golden, powerful tone. If this is the quality we can expect from her right now as a “young artist” at Covent Garden, the mind boggles at the future possibilities. Catch her whilst you can, because this young soprano is destined for the very top.”
Anthony Lias, opera-britannia.com
on Verdi’s Requiem, Cadogan Hall, March 2010
“Meister is bold, ironic and characterful.”
Mark Valencia, whatsonstage.com
on The Truth About Love, Linbury Studio
Royal Opera House, October 2009
“Elisabeth Meister gave an indication that she has a really big voice, and I look forward to hearing her on the main stage in the future.”
John Bird, remotegoat.co.uk
on The Truth About Love, Linbury Studio
Royal Opera House, October 2009
“There was more dramatic spark and invention in soprano Elisabeth Meister’s singing of Britten’s Tell me the truth about love than there had been in the entirety of Rupert Goold’s staging of Turandot down the road - and what a singer she proved to be. She has faultless diction, is a superb actress and despite all three characters looking as they were just making their way home from a particularly uneventful night at the Torture Garden, managed to overcome the Miss Whiplash appearance to show a true sense of vulnerability. Maybe it helped that she was the only one singing in English, but she certainly made a hugely favourable impression.”
Keith McDonnell, musicomh.com
on The Truth About Love, Linbury Studio
Royal Opera House, October 2009
“One or two of the juxtapositions made one sit up and the big-voice, PVC-clad soprano Elisabeth Meister certainly did, storming through the saga of Johnny.”
Edward Seckerson, The Independent
on The Truth About Love, Linbury Studio
Royal Opera House, October 2009
“Elisabeth Meister was the runaway success of this show, with a pretty astonishing dramatic soprano, bags of character and one hell of a whistle! It is without exception, the most promising Young Artist I have yet seen. Dressed in PVC and all manner of S&M accoutrements, she was certainly visually very striking, but that was nothing compared to her powerful, incisive and cleaving soprano. Her rendition of the Britten Cabaret Songs was wry, cheeky, despondent and frankly crazy. You can well understand why Johnny kept his distance from this young lady! Her manic Calypso was fast and furious, the very epitome of New York mania, whilst the operatic pastiche from Johnny was delivered with a huge punch to the Linbury audience.”
Anthony Lias, opera-britannia.com
on The Truth About Love, Linbury Studio
Royal Opera House, October 2009
“Elisabeth was a wonderful soloist to work with - accommodating and sensitive to the performers around her but also displaying a strong sense of musical drive and vision so crucial for the role of the soprano. The sense of drama and passion in her performance [was] coupled with an outstanding technique and considerable vocal stamina.”
Howard Ionascu, conductor
on Verdi Requiem, Canterbury Cathedral, March 2009
"Soprano Elisabeth Meister switched on the fireworks, recreating Wagner's Elisabeth and Bizet's Carmen before electrifying the house with In Questa Reggia from Puccini's opera Turandot."
Peter Palmer, Nottingham Evening Post
on A Night at the Opera, Albert Hall, Nottingham, April 2009
“Down in the Rhine Elisabeth Meister led a lively trio of Rheineskinder with gleaming tone - surely hers is a real Wagner voice in the making.”
David Edwards
on Das Rheingold, Oxford Town Hall, March 2009
“I believe Elisabeth Meister is a singer of real importance - her Turandot is quite stunning.”
Dennis O’Neill CBE
Cardiff International Academy of Voice, 2008
“Such poise and confidence…Her rendition of The sun goeth down was heart-achingly beautiful, and she was spot on with every nuance of Elgar's pedantically shifting pulse.”
Timothy Noon, conductor
on The Kingdom, St David’s Cathedral, St David’s, June 2007
“Elisabeth transported us to a musical realm that was simultaneously beautiful, formidable and healing... her delivery of Musetta’s waltz from La Bohème was a total success. Engaging, virtuosic and passionate.”
José L Elizondo, composer
on an Evening Recital, Goethe Institut, Bonn 2005
“Fiordiligi [was] beautifully portrayed by Meister.”
The Opera Critic
on Cosí fan Tutte, English Touring Opera, Perth 2005
“I was thrilled by [Elisabeth’s] performance and her evident mastery of the role. Here was a truly beautiful and expressive voice used with great taste and musicianship equal to the demands of this difficult role. The moments of coloratura sung with great panache, the cantabile moments as in Per pietà, sung with tremendous Innigkeit and quietly spun tone which had the audience enraptured. Judging by their justifiable enthusiasm after the aria, they were living every moment of it with her. In ensemble she was a very aware and considerate colleague.”
Robert Dean, conductor
on Cosí fan Tutte, English Touring Opera, Monmouth 2005
“A very exciting young singer, she has a glorious voice... she has a tremendous ability to extract the greatest dramatic effect without for one moment overstepping the bounds of good taste - Judith Weir’s one-woman blockbuster King Harald’s Saga was a wondrous achievement!”
Sarah Walker CBE
Guildhall School of Music and Drama, 2003
“[Her] Come Scoglio was absolutely fabulous... terrific!”
Philip Langridge CBE
on The Kathleen Ferrier Awards 2003
“Meister shone in Musetta’s aria and wrung the comedy out of Hely-Hutchinson’s Old Mother Hubbard.”
Rupert Christiansen, The Daily Telegraph
on The Kathleen Ferrier Awards 2003
“A vivid, popular personality.”
Stephen Pettit, The Evening Standard
on The Kathleen Ferrier Awards 2003
“The quietly ecstatic mood is sustained through to the rapt coda, ushered in by Elisabeth Meister’s exquisite high G.”
Gwyn Parry-Jones, MusicWeb International
on Chichester Psalms recording (Naxos)
Bournemouth Symphony Orchestra, Summer 2003
Page updated 13 January 2012
