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The American soprano and voices teacher, Elisabeth Marshall, obtained her Master of Music degree and her Doctorate in Music from the Indiana University Jacobs School of Music (2004-2011), where her principal teacher was Carol Vaness. She has also coached with Roger Vignoles, Martin Katz, Håkan Hagegård, Delores Ziegler, Charles Riecker, and Suzanne Murphy. A Fulbright grant recipient to the Hochschule für Musik und Theater in Leipzig, Germany (2007), she sang for many years with Helmuth Rilling through the Internationale Bachakademie Stuttgart, and later La Academia de Bach in Chile. A 2016 finalist in The American Prize Friedrich and Victoria Schorr Award, she was awarded their Special Citation for “Outstanding Performance in Music before 1800”, and in 2017 won the Third Prize in Art Song and Oratorio.
Elisabeth Marshall has been praised for her “admirably flexible, gilt-edged voice” of “resonance and beauty” and “radiant sheen”, particularly in the works of J.S. Bach, George Frideric Handel, Haydn, and W.A. Mozart. In 2015 she made her Chicago Symphony Center debut in G.F. Handel’s Messiah (Apollo Chorus), which she has also sung with the Cincinnati Symphony Orchestra, at Rockefeller Memorial Chapel in Chicago, and in Hailsham, England. She has performed the music of J.S. Bach extensively, including his B minor Mass (BWV 232) with the Chorus pro Musica of Boston, Maine Music Society, the Choral Art Society of Maine; Matthäus-Passion (BWV 244) at the Oregon Bach Festival under Helmuth Rilling, and numerous cantatas with the White Mountain Musical Arts: Bach Festival in North Conway, New Hampshire and others. She is often in demand as the soprano soloist in W.A. Mozart’s Mass in C minor, which she has sung with several ensembles across the Eastern USA. Other notable engagements include W.A. Mozart's Requiem (Rochester Cathedral, England); Carmina Burana in Portland, Maine; and L.v. Beethoven’s Choral Fantasia with the Indianapolis Symphony Orchestra under CBE Raymond Leppard.
On the opera stage she was praised for her “precision” and “technical skill” as the Queen of the Night in W.A. Mozart's The Magic Flute in London with the Merry Opera Company; has appeared as Frasquita Georges Bizet's Carmen with Bay Chamber Concerts at Maine's historic Camden Opera House; Rosalinde (Die Fledermaus), and Rosabella (The Most Happy Fella) under Constantine Kitsopoulos with IU Opera Theater; Elisetta (Il matrimonio segreto) at the HMT-Leipzig; and Lauretta in G. Bizet’s Dr. Miracle with OperaMaine.
A dedicated advocate of new music, Elisabeth Marshall is a regular artist with the Brooklyn Art Song Society, and is featured on their 2015 debut studio album “New Voices” (Roven Records) in James Kallembach’s Four Romantic Songs, her delivery of which Opera News hailed as “radiant” and “sensuous”. In 2016 she joined the Lorelei Ensemble in the U.S. premiere of George Benjamin’s Dream of the Song at the Tanglewood Contemporary Music Festival under the baton of Stefan Asbury, and returned with them in 2017 for György Ligeti's Clocks and Clouds. In the summer of 2017 she also was a Professional Fellow at SongFest in Los Angeles, performing works of Libby Larsen and Scott Wheeler, among others.
Elisabeth Marshall performs regularly with several professional choral ensembles including the Handel and Haydn Society and the Oregon Bach Festival, and previously with the Lorelei Ensemble, Wexford Festival Opera, London Philharmonia Chorus, and Carmel Bach Festival, working with conductors such as Lars Ulrik Mortensen, Helmuth Rilling, Matthew Halls, Leonard Slatkin, Masaaki Suzuki, and Craig Hella Johnson.
Elisabeth Marshall has served as Associate Instructor of Voice at Indiana University Jacobs School of Music (2008-2011); Vocal Coach at Portland Conservatory of Music (September 2013-May 2017); on the voices faculty of University of Southern Maine School of Music (September 2013-May 2017); and as Assistant Professor of Voice at Ithaca College School of Music (September 2017-August 2020). In 2020 she relocated to the Chicago area where she now lives with her partner, composer James Kallembach, and maintains a private voice studio. |
