Voces Intimae: Italienisches Liederbuch (Wolf)
“Voces rescues Wolf's little-heard prize....The four young singers brought not only powerful, expressive voices but also physically gripping presences.
The most compelling of the four was soprano Elizabeth Racheva....alone among the quartet she really sang off the words. With superb German diction, she colored tones and molded phrases as vividly as a great storyteller.”
Scott Cantrell, The Dallas Morning News
Dallas Symphony Orchestra: Egmont (Beethoven)
“The DSO's experiment worked rather well, with a superb beginning and ending by Mr. Flor and the orchestra and some less hyper but always interesting music in between… Ms. Racheva's sweet soprano caressed the ear.”
Olin Chism, The Dallas Morning News
Voces Intimae at the Meadows Museum of Art
“The performers were…a confident group that projected strongly when forcefulness was in order but took care to observe subtle varieties of mood…Ms. Racheva, who was impressive as a soloist in the Dallas Symphony Orchestra's concerts over the weekend, continued her winning ways in varied music by Rodrigo and Obradors. The Obradors songs, one of which was almost Pucciniesque, were exceptionally appealing.”
Olin Chism, The Dallas Morning News
Charleston Symphony Orchestra: Midsummer Night’s Dream (Mendelssohn)
“Elizabeth Racheva was appropriately cast as the First Fairy with her crystalline and clear soprano, while Dawn Pierce's rich mezzo was the knowing Second Fairy. Together they made a harmonious duo, reinforced by the beautiful singing of the Charleston Symphony Women's Chorus.”
Loretta Haskell, Charleston Post and Courier
Opera Vivente: The Tender Land (Copland)
“As the wistful Laurie, wondering about "the world so wide" on the eve of her high school graduation, soprano Elizabeth Racheva offered a bright, well-focused tone, exemplary diction and persuasive acting.”
Tim Smith, The Baltimore Sun
Lubbock Symphony: La bohème (Puccini)
“Puccini's story was sung in gorgeous fashion. Duets could not be more musically dramatic and guests Elizabeth Racheva and Jonathan Carle were amusing in the roles of Musetta and Marcello.”
William Kerns, Lubbock Avalanche-Journal
Greensboro Opera Company: Le nozze di Figaro (Mozart)
“All the roles were well cast…The sexy Barbarina (Elizabeth Racheva), who enchants and eventually captures Cherubino, has a delicious voice not usually found in this small role. I look forward to hearing her in other roles, as do I Carolyn Kahl (Cherubino).”
Peter Perret, Classical Voice North Carolina
Voices of Change
“[Joe Illick’s] spare Union, for soprano (Elizabeth Racheva), horn (Gregory Hustis) and piano (Mr. Illick), setting fragments from Thoreau and Emerson, did capture a bit of the transcendentalist spirit. Ms. Racheva sang stirringly, phrasing eloquently.”
Scott Cantrell, The Dallas Morning News
Voces Intimae at the Dallas Museum of Art
“Elizabeth Racheva's is a very different kind of soprano, more forward and tangy, but she, too, sang with sophistication in songs by Schumann, Brahms and Wolf.”
Scott Cantrell, The Dallas Morning News
Greensboro Opera Company: Le nozze di Figaro (Mozart)
“Barbarina, sung by Elizabeth Racheva was a cute little flirt and a good foil for the lovestruck Cherubino.”
Greensboro News and Record
Capitol Opera Raleigh: Hansel and Gretel (Humperdinck)
“Elizabeth Racheva stepped into the role of Gretel with very short notice, learning it in record time. However, her performance would have convinced the most seasoned opera goers that the role had always been hers. Totally convincing as a child scampering about as if the world revolved around her, Ms. Racheva's acting skills equally matched her dynamic singing. Her lovely, lyric soprano voice sparkled, transporting listeners to the land of make-believe.”
Joel Adams, General Director, CAPITOL OPERA RALEIGH
Opera Vivente: La finta giardiniera (Mozart)
“Although Ms. Racheva joined the cast later than some other members, her portrayal of the feisty maid Serpetta gave the impression of the role having been in her repertoire for years. It was multi-faceted, nuanced, and managed to be both incredibly funny and touching. Add to that the silvery shimmer of her lovely voice and you had pretty much all one could hope for in a Serpetta.”
John Bowen, General Director, OPERA VIVENTE
