American mezzo-soprano ELIZABETH BISHOP, hailed by Opera News for her “gorgeous voice,” has excelled in opera and oratorio across the country, in music ranging from the Baroque through contemporary. A winner of the 1993 Metropolitan Opera National Council Auditions, Bishop was a recent Adler Fellow with the San Francisco Opera.
Highlights of Bishop’s 1999/2000 season include Fenena in Nabucco with San Francisco Opera; Emilia in Otello with the Washington Opera; and Mahler’s Symphony No. 8 with the Pacific Symphony. In the 1998/99 season, she sang her first Adalgisa in Norma with Opera Memphis, Waltraute in Götterdämmerung and Fricka in Das Rheingold with San Francisco Opera, the Hostess in Wolf-Ferrari’s Sly with the Washington Opera; and Gertrude in Hamlet with Washington Concert Opera. She also appeared as soloist in Elijah with the Louisville Orchestra, and in Messiah and the Bach Magnificat with the Phoenix Symphony.
In the 1997/98 season, she returned to the Washington Opera in the leading role of the Marquise de Merteuil in Conrad Susa’s The Dangerous Liaisons.. Her orchestral engagements included the Ligeti Requiem with the Los Angeles Philharmonic and Esa-Pekka Salonen; an appearance at the Brevard Music Festival as soloist in Berlioz’s Les nuits d’été; and Messiah with the Des Moines Symphony.
Bishop made her Metropolitan Opera debut in Britten’s Death in Venice in the 1993/94 season, and returned the following year for John Corigliano’s The Ghosts of Versailles. Her other operatic appearances have included Orlovsky in Die Fledermaus with Western Opera Theatre; Helen of Troy in the United States premiere of Sir Michael Tippett’s King Priam with San Francisco Opera Center; Meg Page in Falstaff with San Francisco Opera’s Merola Opera Program; and Lucretia in Britten’s The Rape of Lucretia with the Juilliard Opera Center.