Elizabeth Blancke-Biggs, Soprano
Elizabeth Blancke-Biggs

Elizabeth Blancke-Biggs

Soprano
Bio: “Elizabeth Blancke-Biggs’ rapturous sound literally enveloped the stage. A flamboyant, charismatic
 stage presence …" Elizabeth Blancke-Biggs is becoming recognized as one of the most exciting lirico-spinto sopranos on the international scene today. Critics have praised her virtuosic bel canto technique, the beauty of her voice, her pyrotechnic coloratura, and her unerring theatricality. A brilliant interpreter of the most demanding roles in the Spinto-drammatico soprano repertory, she has recently appeared as Strauss' Elektra in a critically acclaimed role debut for the Teatro Communale Bologna, as Strauss' Salome with the Orquesta Sinfonica Nacional at Mexico City's Bellas Artes, and Gutrune in Götterdämmerung for the Teatro Massimo Palermo. She was featured as Violetta in La Traviata for Teatro La Plata Argentina's new production, for which she won the Argentinian Critics Award as "Discovery of the Year" followed by the Verdi Requiem with the Orquesta Sinfonica Nacional at Mexico City's Bellas Artes. Also, she was Verdi's Lady Macbeth in Montevideo, in a critically acclaimed Nabucco at the Grand Théâtre de Gèneve, Nancy, France, and at the Teatro Nacional de Costa Rica. She was the featured artist opening the Verdi Bicentennial in Concerts at Mexico City's Sala Nezahualcoyotl and at Palacio de Bellas Artes followed by the Verdi Messa da Requiem conducted by Mo. Carlo Miguel Prieto. Her critically acclaimed role and house debut in Strauss' Salome was at den Norske Opera in Stefan Herheim's reprise of his Salzburg production. She then appeared under the baton of Lorin Maazel as Puccini's La Fanciulla del West at his Castleton International Festival. She was heard internationally at the Metropolitan Opera as Tosca on a live Sirius Satellite broadcast with the tenor Marcello Giordani. Hailed as one of the best young Verdi singers by Placido Domingo, she appeared with him at the Washington National Opera as Giordani’s Fedora in a gala performance. She made her Metropolitan Opera debut as Violetta in the Zeffirelli production of Verdi’s La Traviata under the baton of Marcello Viotti with Lado Ataneli as Germont, and her Italian debut was the title role in Jonathan Miller’s production of Donizetti’s Maria Stuarda at Torino’s Teatro Regio, conducted by Evelino Pidó. In South America she was Abigaille in Verdi’s Nabucco for Chile’s Teatro Municipal, with Maurizio Benini. In London she appeared as Bellini’s Norma and Puccini’s La Fanciulla del West for Opera Holland Park. She was seen as Minnie in La Fanciulla del West, for Florida Grand Opera with Anthony Michaels-Moore as Rance, and where one reviewer said “... [her] rapturous sound literally enveloped the stage. A flamboyant, charismatic stage presence.” She returned to FGO to sing a critically acclaimed Tosca. For the New York City Opera she was seen as both Tosca and Mimì in La Bohème. She reprised Abigaille in Nabucco for the Aspendos Festival at the 15,000-seat Roman amphitheater in Antalya, Turkey, and was featured in a new production of Aida at Opera Omaha and Norma for Palm Beach Opera with Ruth Ann Swenson as Adalgisa. She toured Japan with the Metropolitan Opera as Ortlinde in Die Walküre with Placido Domingo, and James Morris, conducted by Sir Andrew Davis. Upcoming appearances include 2 new productions and role debut as Turandot both in Barrie Kosky's new production at Berlin's Komische Oper, and Andreas Homoki's production for Den Norske Opera in Oslo, and Elektra with Opera Edmonton. Concert apperances included a return to the Tirado Festival in Alamos Mexico for an all Verismo Aria Concert and the Rossini Stabat Mater and Dvorak Te Deum at Alice Tully Hall in Lincoln Center. Concert engagements also include Verdi’s Messa da Requiem at Tully Hall Beethoven’s Mass in C at the Cathedral of the Ascension, NY, Leonora in Verdi’s Il Trovatore with Opera New Jersey, and Elvira in Verdi’s Ernani with the American Opera Theatre, both under Mo. Michael Recchiuti. She appeared in the opening concert for the Ortiz Tirado Festival under the baton of Mo. Enrique Patron de Rueda, and two subsequent concerts in Festivals in Mazatlan and Culican. Also on the concert stage: Verdi’s Messa da Requiem for the opening of the new Disney Concert Hall, and with the Voices of Ascension in New York City; Brahms’ Ein Deutches Requiem at Lincoln Center; Honneger’s Le Rôi David with the Philharmonic de Nice; Beethoven’s Ninth Symphony with both the Orquestra Sinfonica Nacionàl de Costa Rica and the New Zealand Symphony Orchestra; Verdi’s Requiem at the Orange County Performing Arts Centre; and Carmina Burana with the NZSO under Sir David Wilcox. Also with NZSO: Ortlinde in Die Walküre with Sir Donald McIntyre; and Mozart’s Mass in C Minor; Other concerts include, Beethoven’s Mass in C, Mozart’s Vesparae Solennes, Stravinsky’s Mass and the Fauré Requiem; recitals for NZ Festival of the Arts as a Concert Artist for Radio NZ. Other roles include Desdemona in Otello, Ciò Ciò San in Madama Butterfly, Liù in Turandot, Giorgetta in Il Tabarro, Nedda in I Pagliacci, Micaëla in Carmen, and La Countessa in Le Nozze di Figaro. Last update: 2016-02-09 06:11:10 +01:00
...More
Bio: “Elizabeth Blancke-Biggs’ rapturous sound literally enveloped the stage. A flamboyant, charismatic
 stage presence …" Elizabeth Blancke-Biggs is becoming recognized as one of the most exciting lirico-spinto sopranos on the international scene today. Critics have praised her virtuosic bel canto technique, the beauty of her voice, her pyrotechnic coloratura, and her unerring theatricality. A brilliant interpreter of the most demanding roles in the Spinto-drammatico soprano repertory, she has recently appeared as Strauss' Elektra in a critically acclaimed role debut for the Teatro Communale Bologna, as Strauss' Salome with the Orquesta Sinfonica Nacional at Mexico City's Bellas Artes, and Gutrune in Götterdämmerung for the Teatro Massimo Palermo. She was featured as Violetta in La Traviata for Teatro La Plata Argentina's new production, for which she won the Argentinian Critics Award as "Discovery of the Year" followed by the Verdi Requiem with the Orquesta Sinfonica Nacional at Mexico City's Bellas Artes. Also, she was Verdi's Lady Macbeth in Montevideo, in a critically acclaimed Nabucco at the Grand Théâtre de Gèneve, Nancy, France, and at the Teatro Nacional de Costa Rica. She was the featured artist opening the Verdi Bicentennial in Concerts at Mexico City's Sala Nezahualcoyotl and at Palacio de Bellas Artes followed by the Verdi Messa da Requiem conducted by Mo. Carlo Miguel Prieto. Her critically acclaimed role and house debut in Strauss' Salome was at den Norske Opera in Stefan Herheim's reprise of his Salzburg production. She then appeared under the baton of Lorin Maazel as Puccini's La Fanciulla del West at his Castleton International Festival. She was heard internationally at the Metropolitan Opera as Tosca on a live Sirius Satellite broadcast with the tenor Marcello Giordani. Hailed as one of the best young Verdi singers by Placido Domingo, she appeared with him at the Washington National Opera as Giordani’s Fedora in a gala performance. She made her Metropolitan Opera debut as Violetta in the Zeffirelli production of Verdi’s La Traviata under the baton of Marcello Viotti with Lado Ataneli as Germont, and her Italian debut was the title role in Jonathan Miller’s production of Donizetti’s Maria Stuarda at Torino’s Teatro Regio, conducted by Evelino Pidó. In South America she was Abigaille in Verdi’s Nabucco for Chile’s Teatro Municipal, with Maurizio Benini. In London she appeared as Bellini’s Norma and Puccini’s La Fanciulla del West for Opera Holland Park. She was seen as Minnie in La Fanciulla del West, for Florida Grand Opera with Anthony Michaels-Moore as Rance, and where one reviewer said “... [her] rapturous sound literally enveloped the stage. A flamboyant, charismatic stage presence.” She returned to FGO to sing a critically acclaimed Tosca. For the New York City Opera she was seen as both Tosca and Mimì in La Bohème. She reprised Abigaille in Nabucco for the Aspendos Festival at the 15,000-seat Roman amphitheater in Antalya, Turkey, and was featured in a new production of Aida at Opera Omaha and Norma for Palm Beach Opera with Ruth Ann Swenson as Adalgisa. She toured Japan with the Metropolitan Opera as Ortlinde in Die Walküre with Placido Domingo, and James Morris, conducted by Sir Andrew Davis. Upcoming appearances include 2 new productions and role debut as Turandot both in Barrie Kosky's new production at Berlin's Komische Oper, and Andreas Homoki's production for Den Norske Opera in Oslo, and Elektra with Opera Edmonton. Concert apperances included a return to the Tirado Festival in Alamos Mexico for an all Verismo Aria Concert and the Rossini Stabat Mater and Dvorak Te Deum at Alice Tully Hall in Lincoln Center. Concert engagements also include Verdi’s Messa da Requiem at Tully Hall Beethoven’s Mass in C at the Cathedral of the Ascension, NY, Leonora in Verdi’s Il Trovatore with Opera New Jersey, and Elvira in Verdi’s Ernani with the American Opera Theatre, both under Mo. Michael Recchiuti. She appeared in the opening concert for the Ortiz Tirado Festival under the baton of Mo. Enrique Patron de Rueda, and two subsequent concerts in Festivals in Mazatlan and Culican. Also on the concert stage: Verdi’s Messa da Requiem for the opening of the new Disney Concert Hall, and with the Voices of Ascension in New York City; Brahms’ Ein Deutches Requiem at Lincoln Center; Honneger’s Le Rôi David with the Philharmonic de Nice; Beethoven’s Ninth Symphony with both the Orquestra Sinfonica Nacionàl de Costa Rica and the New Zealand Symphony Orchestra; Verdi’s Requiem at the Orange County Performing Arts Centre; and Carmina Burana with the NZSO under Sir David Wilcox. Also with NZSO: Ortlinde in Die Walküre with Sir Donald McIntyre; and Mozart’s Mass in C Minor; Other concerts include, Beethoven’s Mass in C, Mozart’s Vesparae Solennes, Stravinsky’s Mass and the Fauré Requiem; recitals for NZ Festival of the Arts as a Concert Artist for Radio NZ. Other roles include Desdemona in Otello, Ciò Ciò San in Madama Butterfly, Liù in Turandot, Giorgetta in Il Tabarro, Nedda in I Pagliacci, Micaëla in Carmen, and La Countessa in Le Nozze di Figaro. Last update: 2016-02-09 06:11:10 +01:00
...More

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Repertoire

Composer & WorkRoleProductions
Bellini
NormaNorma3
Bizet
CarmenMicaëla1
Donizetti
Maria StuardaMaria Stuarda1
Miki
The Tale of GenjiRukujo1

Biography

Elizabeth Blancke-Biggs
Elizabeth Blancke-Biggs
Soprano
Full name: Elizabeth Blancke-Biggs

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La voce di Elizabeth Blancke-Biggs ha dominato la scena, e la tessitura straussiana, con recitativo carismatico declinando efficacemente i vari tratti della personalità di Elektra.
Stefano Santini
Arte e Arti
"Elektra potrebbe essere definita un 'one woman show' ed Elizabeth Blancke-Biggs riesce veramente a catturare lo spettatore su di se con un carisma tale da desiderare che i suoi monologhi e i suoi dialoghi non finiscano mai. L'interpretazione é avvincente, da togliere il fiato, supportata da un accento e un uso della parola che fanno invidia al teatro shakespeariano. La vocalitá da lirico spinto, calda e suadente, calza a pennello col ruolo e la bravissima professionista sa tenere suoni brillanti e limpidissimi nella zona centrale e nel bel registro acuto, per poi cercare maggiore efficacia drammatica sporcando i gravi e i medio bassi, pur senza togliere musicalitá nel difficile ruolo ricco di parlati, sussurrati e forti tendenti allâ urlo." "Elektra could be defined as a "one woman show", and Elizabeth Blancke-Biggs truly succeeds in drawing the spectator to her with a charisma that makes one want her monologues and scenes to never end. Her interpretation is breath-takingly fascinating, based on a declamation and use of text that would make a Shakespearian actor jealous. Her lirico-spinto voice, warm and convincing, fits the role perfectly, and the great professional knows how to keep her sound bright and smooth in the center of her voice, and in the beautiful high register, and then to obtain the maximum dramatic effect to darken the low, and medium low parts without taking away the musicality in this difficult role rich in quasi spoken, whispered, and loud passages, heading almost to screams.

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