Soprano Elisabeth Marshall has been praised for her “admirably flexible, gilt-edged voice” (Music in Cincinnati) of “resonance and beauty” (Bloomington Herald Times), and “satisfying precision” (Fringe Opera, London) in works of Handel, Haydn, and Mozart, among others. She has also been described as a voice of “maturity and radiant sheen” (Bloomington Herald Times), and as displaying “real technical skill” (What’s Peen Seen, London) particularly in the lyric coloratura repertoire of Mozart, including the soprano soloist in his C minor Mass, for which she is often in demand.
In addition to a great love of the standard vocal literature of the early musical periods, Ms. Marshall is also a passionate advocate of new vocal music. In 2015 she collaborated with the Brooklyn Art Song Society on their debut studio album “New Voices”, on which Marshall performed Four Romantic Songs by Chicago composer James Kallembach, her delivery of which OPERA NEWS described as “radiant” and “sensuous”.
In December 2014 Ms. Marshall made her Symphony Center debut in Chicago to critical acclaim, as the soprano soloist in Messiah with the renowned Apollo Chorus. While living and working as a freelance singer in Great Britain 2011-2013, she appeared as both the Queen of the Night and First Lady in Mozart’s The Magic Flute with the Merry Opera Company of London, and as soprano soloist in Mozart’s Requiem at Rochester Cathedral, Rossini’s Petite messe solennelle with the Ledbury Choral Society, and Handel’s Messiah with the Hailsham Choral Society. Upon her return to the United States in 2013, she was immediately engaged as soprano soloist in the Mass in C minor (Mozart) with the Maine Music Society and the South Hadley Chorale (MA), and as soloist in the B minor Mass (J.S. Bach) with the Chorus Pro Musica (Boston, MA). She has been a featured soloist with the Cincinnati Symphony, Windsor (Ontario) Symphony, Carmel Bach Festival, Indianapolis Symphony, Columbus Symphony, and Bangor (Maine) Symphony, in works such as Handel’s Messiah, Pergolesi’s Stabat mater, Monteverdi’s Vespers, J.S.Bach’s B minor Mass, Beethoven’s Chorale Fantasie, Fauré’s Requiem, and Bernstein’s Chichester Psalms, under conductors including Robert Porco, Raymond Leppard, and Christopher Zimmerman. Other concert works as soloist include Orff’s Carmina Burana, Haydn’s Die Jahreszeiten and Lord Nelson Mass, Mozart’s Coronation Mass, and Brahms’ Ein deutsches Requiem. As professional chorister she has sung with the Oregon Bach Festival, London Philharmonia Chorus, Wexford Festival Opera, and Carmel Bach Festival, with conductors including Helmuth Rilling, Matthew Halls, Leonard Slatkin, and Bruno Weil.
A 2006 Fulbright Scholar, she studied at the Hochschule für Musik und Theater “Felix Mendelssohn-Bartholdy” in Leipzig, Germany, where she sang the role of Elisetta in Cimarosa’s Il matrimonio segreto, and further through the Internationale Bachakademie Stuttgart, singing frequently under Helmuth Rilling, with the Festivalensemble Stuttgart and Junges Stuttgarter Bachensemble.
Ms. Marshall earned Master of Music and Doctorate of Music degrees in Voice Performance at the Indiana University Jacobs School of Music, where she studied with internationally renowned soprano Carol Vaness. For IU Opera Theater she sang the roles of Rosalinde in Die Fledermaus, and Rosabella in The Most Happy Fella, opposite Metropolitan Opera baritone Timothy Noble, and under the baton of Constantine Kitsopoulos. She has also participated in workshops, master classes, and coachings with such prominent music professionals as Håkan Hagagård, Roger Vignoles, Ned Rorem, and Suzanne Murphy.
In addition to her work as a freelance singer, Ms. Marshall is currently serving as Artist Faculty in Voice at the University of Southern Maine School of Music.