Equally comfortable with classical and contemporary operatic repertoire, American soprano Elizabeth Reiter’s “rich and silvery” voice (Boston Globe ) and “impressive musical polish” (Opera News ) have already prompted comparison to a “young Roberta Peters (who) is fully ready for any professional stage” (David Shengold, Philadelphia City Paper ).


The young soprano begins the 2012-13 season with her role debut as Pamina/The Magic Flute with Chicago Opera Theater under the baton of Steuart Bedford.   Additionally, she returns as a studio member to Oper Frankfurt, where her performances will include Oscar/ Un ballo in maschera Walküre Helmwige/The Ring Cycle , and Second Woman/Dido and Aeneas , among others.


During the 2011-12 season, Ms. Reiter returned to the Opera Company of Philadelphia as Blonde/Die Entführung aus dem Serail , where she was previously seen as Aphrodite in HW Henze’s Phaedra and Amor/Orphée et Erydice .  She also made her debut with Opera Memphis as Adele/Die Fledermaus and completed her debut season at Opera Frankfurt singing Walküre Ortlinde/ The Ring Cycle,  Papagena/Die Zauberflöte , and Annina/La Traviata.


Under the tutelage of Marlena Malas, Ms. Reiter received her graduate degree from The Curtis Institute of Music where her credits included the title role/The Cunning Little Vixen , the title role/La Sonnambula , Corinna/Il viaggio a Reims , and Zerlina/Don Giovanni .  Other recent opera performances include Zerlina under the baton of Maestro James Levine (Tanglewood Music Center), La libellule/L’Enfant et les Sortilèges with Maestro Lorin Maazel (Castleton Festival), Susanna/Le Nozze di Figaro and Despina/Cosí fan tutte (Chautauqua Institution), Blonde/Die Entführung aus dem Serail (Teatri SpA di Treviso, Italy), Adele in the American premiere of Michael Berkeley’s Jane Eyre (Opera Theatre of Saint Louis, Sir Colin Graham directing), and Flora/The Turn of the Screw (Chicago Opera Theater, Aspen Opera Theater Center).


A frequent interpreter of new music, Ms. Reiter made her solo operatic debut at the age of 16 as Young Maria Celeste in the world premiere of Philip Glass and Mary Zimmerman’s Galileo Galilei  (Chicago’s Goodman Theatre, Brooklyn Academy of Music, and London’s Barbican Center).  She later returned to the Goodman Theatre as Polyxena in Zimmerman’s staging of Seneca’s Trojan Women , singing an aria specially composed by Philip Glass.  Apart from the opera stage, Elizabeth has collaborated with composer Libby Larsen on her Songs from Letters at the Ravinia Music Festival and with composer André Previn on his Sallie Chisum remembers Billy the Kid both at the Tanglewood Music Center and in a televised performance in Tokyo with the composer at the piano.


On the concert stage, Ms. Reiter has been heard as soprano soloist in Weill’s Royal Palace at the Bard Music Festival with the American Symphony Orchestra, Mozart’s Requiem with the Curtis Sinfonietta, Vaughan Williams’ Dona Nobis Pacem with the Chautauqua Music Festival Orchestra and Mahler’s Symphony No. 4 with the Manhattan School of Music Philharmonia.  She has also sung the role of Cupid in Purcell’s King Arthur in concert performances with Chicago’s Music of the Baroque under the baton of Music Director Jane Glover and has appeared as Susanna in Le Nozze di Figaro for the Chautauqua Theatre Company’s production of Amadeus with both the Chautauqua Symphony Orchestra and the Buffalo Philharmonic Orchestra under JoAnn Falletta. As a recitalist, Ms. Reiter has collaborated with such artists as André Previn, Craig Rutenberg, Warren Jones, and Mikael Eliasen in such venues as Carnegie Hall’s Weill Recital Hall, the Ravinia Music Festival, the Tanglewood Music Festival, and Tokyo's NHK Studio.


The 2011 First Prize Winner of the Liederkranz Competition Lieder/Art Song Division, Ms. Reiter has also received awards from the Metropolitan Opera National Council Auditions, the Lotte Lenya Competition, and the Mario Lanza Competition.  She received her undergraduate degree from the Manhattan School of Music, with additional studies at the Steans Institute at the Ravinia Music Festival, the Tanglewood Music Center, Aspen Music Festival, the Chautauqua Institution, and as a Gerdine Young Artist with the Opera Theatre of Saint Louis.  Originally from Chicago, Elizabeth received her earliest operatic training as a member of the children’s chorus with the Lyric Opera of Chicago.