Elizabeth Karani - Soprano

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English soprano Elizabeth Karani began her studies with Susan Roper at the Royal Northern College of Music and where she won the Elizabeth Harwood prize, the Dame Eva Turner Award and the Elsie Thurston Award. Elizabeth moved to London to study at the Guildhall School of Music and Drama’s Opera Course with Susan McCulloch, finishing in July 2016. She was a member of the National Studio and a Park Lane Young Artist during the 2016/17 season.

Elizabeth’s recent operatic projects include her Royal Opera House debut as Nanna/Embla in the premiere of The Monstrous ChildRosalinde Die Fledermaus for Diva Opera in both the UK and France, Tatyana Eugene Onegin for Mid Wales Opera, Cino in Vivaldi’s Teuzzone for La Serenissma (in Venice), Musetta La Boheme with Opera Holland Park (Christine Collins Young Artist Programme), Jano Jenufa for Longborough Festival Opera, Jay The Cunning Little Vixen for Garsington Opera (where she has also covered the role of Marzelline Fidelio), Rosalinde Die Fledermaus and Berta Il Barbiere di Siviglia on tour across Europe with Diva Opera, Tartagliona in Jonathan Dove’s The Little Green Swallow for British Youth Opera, and Angel Jephtha (cond. Harry Christophers), Maiden in Sibelius’ The Maiden in the Tower and Resi Intermezzo, all for the Buxton Opera Festival.

Whilst at the Guildhall, Elizabeth sang Female Chorus The Rape of Lucretia, Eleanora Le Donne Curiose and Armande in Martinu’s Alexandre Bis while, at the RNCM, Atalanta Xerses, Frasquita Carmen, Orestes La Belle Helene, and La Chauve-Souris L’enfant et les Sortileges. In opera scenes she took many roles, including Susanna Le Nozze di Figaro, Musetta La Boheme, Fiordiligi Cosi fan Tutte, Juliette Romeo et Juliette, Yum-Yum The Mikado and Helena in Britten’s A Midsummer Night’s Dream (a role she has since sung at Aldeburgh). She has also sung Micaëla Carmen for MJ:UK at the Cheltenham Playhouse and Suor Genovieffa Suor Angelica at the IOE Teatro Verdi, Montecatini.

Highlights on the concert platform include Mozart’s Requiem with the Munich Philharmonic Orchestra, conducted by Barbara Hannigan, Handel’s Solomon for the Musique Cordiale International Festival, Mozart’s Exsultate Jubilate with the London Mozart Players, Mahler Symphony No. 2 with the Sheffield Symphony Orchestra and Edward Gregson’s The Dance, Forever the Dance at Manchester’s Bridgewater Hall.  Most recently, Elizabeth sang the Mozart Requiem with the Münchner Philharmoniker at the Gasteig, Munich (conducted by Barbara Hannigan).

Most recently, she made her English National Opera and Regent’s Park Open Air Theatre debuts as Gretel Hansel and Gretel, sang the Countess Almaviva in a reduced version of The Marriage of Figaro for Opera North, made her West Green House Opera debut as Isabella L’Inganno Felice and returned to the Buxton International Festival as Rutilia Lucio Papirio Dittatore with La Serenissima.  March 2020 would have seen her debut with  the Orchestre Philharmonique de Radio France at the prestigious Philharmonie de Paris, as soprano soloist in the Mozart Requiem.

Elizabeth will sing Susanna Le Nozze di Figaro for Opera Holland Park in the summer of 2021.

Hansel & Gretel – ENO/Regent’s Park 2019

“The singers’ words work well in an English translation by David Poutney, and come across clearly without surtitles, with the main vocal pairings strongly executed by Heather Lowe (Hansel) and Elizabeth Karani (Gretel)” Theatre World

“We enjoy the sweetness that Heather Lowe and Elizabeth Karani share as the siblings.  Lowe is incredibly playful as Hansel…Karani is the perfect contrast as Gretel; disciplining her brother, being the firmer of the two. Both are strong storytellers and their performances are charming.” Broadway World

Eugene Onegin – Mid Wales Opera 2019

“Elizabeth Karani’s Tatyana was…plausibly both innocent and strong of character and sung with considerable beauty of tone.” Seen and Heard International

“Elizabeth Karani…fields a warm and secure soprano.” The Daily Telegraph

Tchaikovsky’s second scene is a tour de force for Elizabeth Karani holding the stage alone for an extended period.  She takes her character on its arc of maturity. At the opening she is a meditative reader of novels and impulsive letter-writer. By the third act she has moved to a position possessed of the grace for the renunciation of impulse” Theatre in Wales