Fiery and Icy Tones of Lerdahl
Suddenly, after tiptoeing back and forth in tight, close-up imitative surfaces in Fire and Ice (2015), Elizabeth Fischborn and Edwin Barker broke out in genuinely alarming sensation, propelling Frost’s poem into musical expression far, far beyond spoken expression. Evidence of their stunning performance marked with higher and still higher to unbelievably highest of pitch both tonally and emotionally came in spontaneous uninhibited acclaim from those of us, nearly all of us sitting in close proximity—that kind that Calderwood can offer— to these giant performers.
— David Patterson,
The Boston Musical Intelligencer
BSO Chamber Players and Prokofiev go to the circus (sort of)
A complex piece, it was brilliantly performed by soprano Elizabeth Fischborn and bassist Edwin Barker.
— David Weininger,
The Boston Globe
Painted Sky Opera's Double Bill is Well-Performed
The supporting cast were also strong singers and good actors: Elizabeth Fischborn and Wannigman as the Gobineaus...and Burcham as Mrs. Nolan...all delivered thoughtful performances that enhanced the story.
— The Oklahoman
Soprano Elizabeth Fischborn’s plush voice was adorned by subtle and knowing facial expressions... Read More...
— Eli Newberger and Carolyn Newberger,
The Berkshire Edge
REVIEW: Tulsa Ballet "Carmina Burana" and "Bolero"
Conductor Peter Stafford Wilson marshaled the musical forces well. The choruses were well prepared and sang with marvelous force and dynamic precision, and soloists Keith Phares, Elizabeth Fischborn and Gregory Schmidt were outstanding.
— JAMES D. WATTS JR.,
"Strauss, like Wagner, composed his music with few or no interruptions allowing for applause of a particular 'aria,' but Elizabeth Fischborn as Zerbinetta, brought the production to an approximately two-minute standstill with her last note of the famous 'High and Mighty Princess' ('Grossmächtige Prinzessin') scene. This diminutive and engaging soprano poured out-with astonishing volume- pure tonal beauty, and gave a distinguished and engaging performance, achieving probably the greatest success of the evening."
— George B. Parous,
The Pittsburgh Stage Online Magazine
"The real star of the production turned out to be Elizabeth Fischborn, the pert and frivolous dancing girl, Zerbinetta, in act one that becomes a vocal, charismatic powerhouse in act two. Diminutive in stature but long in talent, Fischborn makes the lengthy, stamina-testing obstacle course of an aria...seem as effortless as singing a lullaby."
— David Zuchowski,
Pittsburgh Owl Scribe
"Ms. Fischborn is that rare phenomenon, a light soprano who combines agility in the altitudes with the fullness and heft of her heavier-voiced colleagues. And what a pro she is on stage: limber and flexible, sexy and funny, clearer in her diction than most singers of her vocal type, with a knack for making the individual viewer feel direct emotional contact. All the while she exudes the joy of singing without letting on how hard Zerbinetta's music really is."
— Robert Croan,
"Elizabeth Fischborn stole the show as a vivacious Zerbinetta."
— Mark Kanny,
"Lulu was sung by soprano Elizabeth Fischborn. She is a member of the Tulsa opera's apprentice program and merits a substantial career."
— Gregory Sullivan Isaacs,