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
Van Cliburn Foundation: Cliburn at the Modern (Heggie)
"Cliburn at the Modern brings out the best in Heggie’s music....At a Cliburn at the Modern concert Saturday afternoon at the Modern Art Museum of Fort Worth, songs by Jake Heggie dispelled the notion that new classical music cannot connect easily to listeners....Six performers were committed and well-suited to the music....Elizabeth Racheva (with Heggie again accompanying) followed with Rise and Fall, four songs based on sculptures ancient and modern. Racheva’s animated delivery and bright, peppery soprano represented urgent incantation and transcendent calm....The tender duet Facing Forward sung by [Virginia] Dupuy and Racheva — a dialogue between parent and child — brought tears to some."
Chris Shull, Fort Worth Star-Telegram
Eugene Concert Choir: Grand Mass in C Minor (Mozart)
"With the well-prepared Eugene Concert Choir, the luxury of the Eugene Symphony, and four experienced, effective soloists, the Hult Center audience was treated to an exciting gift of Mozart raw...The two soprano soloists carried most of the weight of the aria sections, and Elizabeth Racheva, soprano and mezzo Margaret Lattimore were impressive in their numbers. Racheva's voice is clear and silvery....She was at her best in the melting "Et incarnatus est" which is accompanied by a small contingent of winds and strings, and she handled those cruel vocal leaps with aplomb."
Marilyn Farwell, Eugene Register-Guard
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
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
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: Union (Illick)
“[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: White Nights & Northern Lights (program curated by Racheva)
"Warm feelings for the music of cold countries in Voces Intimae concert...Before Voces Intimae, chances to hear art songs around here were rare indeed. And even in cities where the medium gets more attention, repertories from Western Europe are performed far more often than Russian and Scandinavian. Saturday's selection provided revelatory variety...Racheva was the best of the vocalists, a naturally communicative performer with a voice nicely balancing warmth and tang."
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
“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
Van Cliburn Foundation: Cliburn at the Modern (Heggie)
"Cliburn at the Modern brings out the best in Heggie’s music....At a Cliburn at the Modern concert Saturday afternoon at the Modern Art Museum of Fort Worth, songs by Jake Heggie dispelled the notion that new classical music cannot connect easily to listeners....Six performers were committed and well-suited to the music....Elizabeth Racheva (with Heggie again accompanying) followed with Rise and Fall, four songs based on sculptures ancient and modern. Racheva’s animated delivery and bright, peppery soprano represented urgent incantation and transcendent calm....The tender duet Facing Forward sung by [Virginia] Dupuy and Racheva — a dialogue between parent and child — brought tears to some."
Chris Shull, Fort Worth Star-Telegram
Eugene Concert Choir: Grand Mass in C Minor (Mozart)
"With the well-prepared Eugene Concert Choir, the luxury of the Eugene Symphony, and four experienced, effective soloists, the Hult Center audience was treated to an exciting gift of Mozart raw...The two soprano soloists carried most of the weight of the aria sections, and Elizabeth Racheva, soprano and mezzo Margaret Lattimore were impressive in their numbers. Racheva's voice is clear and silvery....She was at her best in the melting "Et incarnatus est" which is accompanied by a small contingent of winds and strings, and she handled those cruel vocal leaps with aplomb."
Marilyn Farwell, Eugene Register-Guard
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
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
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: Union (Illick)
“[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: White Nights & Northern Lights (program curated by Racheva)
"Warm feelings for the music of cold countries in Voces Intimae concert...Before Voces Intimae, chances to hear art songs around here were rare indeed. And even in cities where the medium gets more attention, repertories from Western Europe are performed far more often than Russian and Scandinavian. Saturday's selection provided revelatory variety...Racheva was the best of the vocalists, a naturally communicative performer with a voice nicely balancing warmth and tang."
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
