Elisabet STRID  Soprano
 
 
  BIOGRAPHY  

 

Elisabet Strid started her international career 2010 at the Norwegian National Opera Oslo as ELISABETH in Stefan Herheim’s Tannhäuser production. Since then, she has sung this very role at the Semperoper Dresden, the Rhine Opera Dusseldorf-Duisburg and at the Festival in Tampere.

Here, the Swedish soprano is regularly demanded for gust performances including SENTA in “Der Fliegende Holländer” and SIEGLINDE in “Die Walküre”. Elisabet is also a permanent guest at the Opera House Leipzig. Here, she earned much acclaim as ADA in “Die Feen”, as BRUNNHILDE in “Siegfried” and with her debut as SALOME in 2017.

At the Latvian National Opera in Riga she sang SIEGLINDE, GUTRUNE in “Götterdämmerung” and IRENE in “Rienzi”. In 2013 she made her debut as FREIA in “Das Rheingold” at the Bayreuth Festival and in the same year she made her successful America debut she made 2013 with SENTA in ‚Der Fliegende Holländer’ at the Michigan Opera Detroit.

One of the artist’s most-sung roles is RUSALKA, a role with which she achieved particular successes at the Helsinki National Opera, the Teatro de Bellas Artes in Mexico, at the Capetown Opera in South Africa and at the Gothenborg Opera House. Moreover, at the Helsinki Opera she also made a great impression in the Puccini operas “Madama Butterfly” as CHO-CHO-SAN and “Il Tabarro” as GIORGETTA.

Elisabet studied singing at the Stockholm University and graduated here in 2004. Already during her studies, the young soprano made her debut at the Vastena Academy as ‚Brygitta’, in Carl Unander Scharin’s opera, which he had composed in 2003. In the same year, she sang ANTONIA in “Les Contes d’Hoffmann” at the Royal Opera Stockholm. Among her first roles there are also parts like MUSETTA in “La Bohème” (performed at the Malmö Opera House) and ELLEN in ”Peter Grimes”.

Elisabet Strid made her debut as a concert singer with the Swedish Radio Orchestra (Francis Poulenc ‚Gloria’). She performed Wagner’s Wesendonck-Lieder with the OFUNAM-Orchestra in Mexico-City, GUTRUNE in ‘Götterdämmerung’ with the Gothenborg Philharmonic Orchestra and the 9th Symphony with the Stuttgart Philharmonic Orchestra and the Stockholm Symphony Orchestra.

Besides, Elisabet Strid works with renowned conductors and stage directors such as Andris Nelsons, Kiril Petrenko, Adám Fisher, Esa Pekka-Salonen, Cornelius Meister, Axel Kober, Ivan Anguélov, Lorin Maazel, Ulf Schirmer, Kent Nagano, Frank Castorf, Barbe&Douce and Aron Stiehl.

In the season 2016/2017 she enjoyed great success as NYSSIA in „King Kandaules“ at the Flemish Opera in Antwerp. She sang CHRYSOTHEMIS in Patrice Chereau’s famous production of „Elektra“ at the Helsinki National Opera and at the Baltic Sea Festival in Stockholm at the sides of Nina Stemme. She was SENTA at the Wiesbaden May Festival and at the Festival Opera Open in Plovdiv. She performed BRÜNNHILDE in „Siegfried“ at the Budapest Wagner Days, where she had already known huge success as SENTA. At the Gothenborg Opera she sang KERSTI in the Swedish opera „ Kronbunden”. In France, she made her debut as SENTA in “Der Fliegende Holländer at the Opera House in Lille.

In the season 17/18 Elisabet Strid maked her debut as SIEGLINDE at the Lyric Opera Chicago. Besides, she sings this very role also in a new production of the Dusseldorf Opera. She is BRÜNNHILDE, SALOME and ELISABETH in „Tannhäuser“ at the Opera Leipzig and returns as SENTA to the Budapest Wagner Days. Future engagements include LISA in „Pique Dame“ in Düsseldorf, SENTA at the Stuttgart State Opera, GIORGETTA in Oslo and MARIETTA in “Die tote Stadt” in Helsinki.

In 2017 her first CD ‚Leuchtende Liebe‘ (Beethoven & Wagner) was released under the label Oehms Classics.

 

 
 
 
REPERTOIRE
Beethoven 9. Sinfonie  
Britten Peter Grimes Ellen Orford
Dvorak Rusalka Rusalka
Puccini Madame Butterfly CHO-CHO-SAN
  Il Tabarro Giorgetta
  Turandot Liu
Wagner Rheingold Freia
  Rienzi Irene
  Tannhäuser Elisabeth
  Walküre Sieglinde
  Siegfried Brünnhilde
  Götterdämmerung Gutrune
  Die Feen Ada
  Der Fliegende Holländer Senta
     
 
 
REVIEWS
 
Lyric Opera Chicago - Die Walküre - SIEGLINDE
The impressive soprano Elisabet Strid, as Sieglinde, sang with radiant, focused sound and poignant expressive shadings.
New York Times
www.nytimes.com
Elisabet Strid as a marvellous Sieglinde, radiant in the upper register, telling lower down and emotionally searing.
Finacial Times
This “’Ring’ for the theater” is further blessed with casting that only an alignment of the planets could provide. Director David Pountney guides his golden-voiced actors into genuine physicality equal to outsized passions, eschewing “park-and-bark.” Brandon Jovanovich (Siegmund), and Elisabet Strid (Sieglinde), embody the new opera-singing-actor for which a fresh audience clamors. When we needn’t step out of the moment to wonder if a singer will reach the high note, the characters can be real. When these actors are also so comfortable in their bodies that they can live what is on the page, including the bits where no one is singing, those precious jewels where the composer fleshes out the characters, their audience will be left jonesing for the next episode.
Newcity Stage
www.newcitystage.com
Elisabeth Strid proved electrifying in her company debut as the doomed Sieglinde. At times one wanted a bit more vocal heft in this role but the Swedish soprano sang with remarkable commitment and dedication throughout. Dramatically she powerfully conveyed the abducted gril’s haunted unhinged qualities.
Chicago Classical Review
www.chicagoclassicalreview.com
Leipzig Opera - Salome - SALOME
In Elisabet Strid they found a Salome, who perfectly hits the temper of a nymphet. Young and rebellious, she knows exactly how to reach her goal. The Swedish soprano has a beautiful, intensely focussed voice with brilliant colors, taking a stand in every situation in a sensual and seductive way.
Der Neue Merker, 07/2017
A soprano which has both youthfulness and reciliency, a „youthful Isolde“ as Strauss should have wanted it, who is vocally able to cap the final with fine piani. Altough this is her first Salome, Strid already shows some fine interpretation points. This soprano could be „ the future Salome“.
Der Opernfreund
www.deropernfreund.de
Visually, the Swedish soprano Elisabet Strid is the ideal cast for the role… She impresses with a youthful soprano voice, still gentle in the high registers.
Frankfurter Rundschau
www.fr.de
Eisabet Strid’s first Salome is youthfully brilliant and powerful and passionate in the final scenes.
LMZ
www.lmz.de
Like Elisabet Strid as Salome who dominates the stage right from the beginning. She is girlish, bored, naïve and monstrous, pure and depraved. All this also shows in her beautiful voice, which never shows the impositions of the gigantic part. In each register she disposes of an entire dynamic and tuneful range and she knows how to use it. A huge, impressive incredibly mature role debut...
LVZ
www.lvz.de
In the title role of Salome was the Swedish jugendlich dramatisch soprano Elisabet Strid making her role debut. Her 'blond' Scandinavian soprano and youthful looks made a great impact as the psychotic princess. From her first, hyperactive entry she convinced as the teenager with attitude manipulating all those around her to get her way. Strid has already sung the Siegfried Brünnhilde in this house and her voice is at the lyric end of the dramatic spectrum. She uses the text vividly with a pure legato, and is able to hone down her sizeable voice to an almost child-like whiteness for phrases such as “Ich bin nicht hungrig, Tetrarch”.…..Strid's voice fully encompassed the extremes of the last scene from silvery filigree in phrases such as “und wenn ich dich ansah, hörte ich geheimnisvolle Musik”, the darker register of “Liebe its grösser als das Geheimnis der Tod” through to the final ecstatic outburst “Ich hab' ihn geküsst, Jochanaan”.…..Strid received a great ovation and will surely go on to sing the role elsewhere
Bachtrack
www.bachtrack.com
Elisabet Strid is a convincing Salome in every sense. She is a naïve, stubborn Lolita, who listens with eyes wide open to Jochanaan’s prophecies but she is also a sensual, seductive femme fatale, who recklessly follows her own desires, always changing between the victim and the culprit role. Vocally also, all demands are met. With her wonderful, youthful-dramatic soprano voice, she gives the Judean princess the necessary vocal vigour, youth and sustainability.
Mephisto 97.6
www.mephisto976.de
Elisabet Strid has an appealing stage appearance. Her portrayal of Salome is very youthful, at times almost childish. She knows how to manipulate the men ( but she doesn’succeeds inmanipulating Jochanaan). It reminded me of Lulu. Her voice is clear and bright without any pingencies…
Tamino Klassikforum
www.tamino-klassikforum.at
Ravello Festival Italien – BRÜNNHILDE in Siegfried/SIEGLINDE in Die Walküre
Elisabet Strid ha rivelato grande estensione e duttilità nell’affrontare sia il ruolo di Sieglinde che quello di Brünnhilde; il soprano svedese è stato così limpidamente wagneriano, dall’incantare perfino maggiormente in quei frangenti in cui il compositore ha momentaneamente “tradito” i principi del suo Musikdrama a vantaggio della melodia quasi di ascendenza belliniana.
Corriere della Sera, July 2017
Leipzig Opera - Siegfried - BRÜNNHILDE
Elisabet Strid, who will also sing Elisabeth in "Tannhäuser" and Salome at the Leipzig Opera, wisely divides the role. She's not at all a vocal heroine, who welcomes sun, light and day with a trumpet-like voice. As she starts singing, she really is the daydreaming maiden, who - with a clear, almost youthful but still relatively restrained voice - is trying to understand what has happened to her. In the long run she cannot escape Siegfried's impetuous passion. Her voice gains brilliance and flow. The audience can hardly resist the lover's hymne. Standing ovations.
Christoph Suhre - Der Neue Merker 04/2017
www.der-neue-merker.eu
Opéra de Lille - Der fliegende Holländer - SENTA
Whereas Elisabet Strid's and Patrick Bolleire's performances as Senta and Daland are remarkable.
Cuttingedge
www.cuttingedge.be
Budapest Wagner Days - Siegfried - BRÜNNHILDE
I hope he develops as well-known singer in the World of opera as Swedish soprano Elisabet Strid. I know her Brünnhilde from the Leipzig stage. She has a beautiful crystal clear voice with an attractive timbre. As actor she can be sensitively tender but she can also be yery expressive. There is a special charme in her voice. She was great Senta in Budapest last year. As Brünnhilde she established her talent this year.
2016 ElegantClassics, Czech republic - All rights reserved.
Chief editor : Miloš Bittner
Finish National Opera Helsinki - Elektra - CHRYSOTHEMIS
It was a stroke of luck that ELISABET STRID was found for the role of Chrysothemis, completing the ladies trio of equals. A beatifully timbred voice of great recognition with a brilliance in the heights, which is absolutely essentional for this role, and an impressing dramatic intensity.
www.der-neue-merker.eu
Budapest Wagner Days - Siegfried
She has a marvellous voice, which really florished in the high registers and unfolded its entire radiance: „Heil dir Sonne. Heil dir Licht!“ became a beautiful vocal sunrise With plenty of emphasis and a warm timbre she painted an impressive and adequate role portrayal.
www.bachtrack.com
Ottima, .. la Brünnhilde sensualissima di Elisabet Strid, corposa nei centri e dall'ottava acuta folgorante. Il fraseggio intelligente contribuisce a delineare con grande puntualità i sentimenti contrastanti che agitano la Valchiria ribelle.
www.operaclick.com
Plovdiv Amphitheatre - Der Fliegende Holländer - SENTA
To me, the strongest character in this symbolic opera is Senta - unselfish, crazy, passionate and willing to make sacrifices. I cannot think of any better portrayal of Senta as the one of the swedish soprano Elisabet Strid. She has a soft, well balanced voice, with a beautiful timbre and plenty of metall. In the past, I was lucky to work with such renowned Wagner singers as Janine Altmeyer, Alessandra Marc and other but none of them has such a beautiful voice, so perfectly balanced in all registers. A real discovery! Also her appearances perfectly match the character of Senta. Rightly, she has become the Plovdiv audience's darling.
www.der-neue-merker.eu
May Festival -The Flying Dutchman - SENTA
‚Then there is also Senta, sung by the Swedish soprano Elisabet Strid. Mature and reflected in her expression but also fresh and sensual, particularly in her ballad of the Dutchman.'
www.m.fnp.de
De Vlaamse Opera Antwerpen - König Kandaules - NYSSIA
‘Elisabet Strid is a lyrically flowing, sooftly timbred Nyssia with powerfel attacks in the dramatic passages.'
Regine Müller / Opernwelt May 2016
Elisabet Strid as Nyssia hase already Wagner experience and one can hear that. The part of Nyssia sometimes really ressembles Brünnhilde. She follows the footsteps of her famous fellow countrywoman.
vlaamswagnergenootschap.blogspot.com
Elisabet Strid, that I saw a.o. as Freia in Bayreuth, is a beautiful Nyssia. Especially in the last act, as the drama escalates, she is very impressing.
www.gopera.com
Wagner Fest Budapest - Der Fliegende Holländer - SENTA
'Frantic applause for Elisabet Strid's splendid interpretation of Senta. The entire part is brilliantly and vividly performed and souvereignly sung. The applause increases into cheers also for Strids acrobatic action on the scaffold.'
Manfred Zweck ORPHEUS September/Oktober 2015
Wagner Days Budapest - Der Fliegende Holländer - SENTA
'The young Swedish Elisabet Strid sings and plays a fulminant Senta and strongly performs the ballad with a convincing vocal mark. The truely difficult high peaks cause her not the slightest problem. Since I have seen her 2007 in Riga in her first Wagner role, Sieglinde, she has made enormous progress. She definitively now is a remarkable emerging talent in the Wagner repertoire. As Freia in the present Bayreuth 'Ring' she also celebrates great triumphs.
Klaus Billand, June 2015, Der neue Merker
www.der-neue-merker.eu
Opera House Leipzig - Siegfried - BRÜNNHILDE
Absolutely marvellous the love duet with the lyrical Elisabet Strid, a real young woman, awakening to love. Although Strid is not highly dramatic in every inch, her voice is perfectly audible. Her singing is so wonderful and the few dramatic high notes at the end also are perfect. That's why this unusual casting concept works perfectly.
Dr. Ingobert Waltenberger
www.der-neue-merker.eu
But perhaps the most important musical event of the festival was the role debut of Elisabet Strid, who sang Brünnhilde in 'Siegfried'. I have never heard such a lyric almost coloratura approach to this role, with all the notes in place, fine coloring, and significant power, even over the thundering orchestra. She's also glamorous and knows how to act. ...to my ear, she is the finest and freshest Siegfried Brünnhilde now singing and one of the most distinctive ever. What a discovery!
classicalvoiceamerica.org
Elisabet Strid was the Brünnhilde of the evening. Opticallo a real feast for the eyes- vocally a real pleasure! However she should not throw herself so vehemently into the highly dramatic parts. Though her fresh, youthful voice allows such exultation notes, it should be handled with care. It would be a pity if such a precious material would dry out too soon.
Der Neue Merker, Christopher Suhre 05/2015
'The true relevation of the evening was Elisabet Strid's Brünnhilde. Her still lyrical sounding voice has enough power and brilliance to turn the extreme high vocal lines in the awakening scene into something absolutely thrilling. Also in expression, tempo and phrasing she acted strikingly confident.'
Klassik.com, Midou Grossmann
magazin.klassik.com
'At his side (third act) the stil quite young Brünnhilde from the Swedish Elisabet Strid-...strikingly bright and brilliantly beautiful.'
Kultura extra, Andre Sokolowski
www.livekritik.de/kultura-extra
'Elisabet Strid a fantastic Brünnhilde...a great, opulent voice: Elisabet Strid is Brünnhilde... The last act is an indulgence.'
Bild
www.bild.de
'Although the Swedish Elisabet Strid pines away with a surprisingly slender voice and she almost lyrically approaches the murderous part, she repeatedly must oppose both the ardent hero and the loudly arguing orchestra. '
Michael Ernst NMZ
www.nmz.de
'With a warm soprano voice of a juvenile sound Elisabet Strid cultivatedly sang the role in the lyrical part. In the medium register her voice is coloful and well balanced....
Bernd Hoppe - Operalounge
http://www.operalounge.de
'really astonsihing however is the voice of the young Swedish Elisabet Strid's Brunnhilde. A truely amazing singer...'
MDR.de/Kultur – Dieter David Scholz
Semper opera Dresden - Tannhäuser - Elisabeth
A Dresden Wagner Celebration in the Strauss Anniversary Year
Fantastic „Tannhäuser“revival at the Semper opera
'To that, a sublime ensemble, a celebration of beautiful voices, even more: the encounter of a splendid singer group. Singing and scenic presence in the drama of the story fluently merged... Elisabet Strid is a truly youthful Elisabeth, joyous and yet dynamically graded in her development from brilliant exultation in the Great Hall Aria unto her dramatic, existential commitment to Tannhäuser. Her lonely farewell with its intense prayer in the third act was of a touching tragedy.'
Dresdner Neueste Nachrichten, Boris Gruhl
Bayreuth Festival - Das Rheingold - FREIA
'Elisabet Strid is a fresh and youthful Freia...'
Die Deutsche Bühne, 10/14
'Elisabet Strid's Freia is a stunner in every respect.'
Der neue Merker
www.der-neue-merker.eu
Leipzig Opera House - Die Feen - ADA
'I had not encountered Elisabet Strid before, but she certainly impressed as Ada, a worthy successor to last year’s Christiane Libor. If only a woman in the centre stalls had not loudly coughed throughout the whole of Ada’s great second-act aria, so clearly inspired by Wilhelmine Schröder-Devrient (the aria, that is, rather than the coughing). Strid nevertheless rose above such selfish provocation to give a fine account of that extremely difficult number.'
Seen and Heard International
Elisabet Strid as Ada keyed up to imposing dramatic art. Just as well she succeeded in convincing in the lyrical scenes. In the big aria her voice blossomed and she had the required condition. No doubt this was the most impressive performance of the evening.
Der neue Merker
Latvinian National Oper Riga - Rienzi - IRENE - January 2014
"Elisabet Strid in the role of Rienzi's sister Irene convinced with her powerful and beautifully focussed soprano voice. Her nuanced, multilayered role presentation ensured a fascinating interpretation."
Opernglas
'Rienzi' s innocent sisterIrene, brilliantly portrayed by the soprano Elisabet Strid... '
Espressen
Michigan Opera House Detroit - Der Fliegende Holländer - SENTA - October 2013
"But Friday night I returned to the Detroit Opera House for the first two acts of “Dutchman” because I wanted to hear the singers in the lead roles in the alternate cast. It was rewarding on several levels. Most notably, the young Swedish soprano Elisabet Strid was making her American debut for MOT as Senta. Her singing was simply gorgeous — opulently textured, powerful but never forced and with a lyric sense of line that connected the dots between fine Wagner singing and the bel canto tradition. She’s the real deal."
Free Press, Detroit
Bayreuth Festival - Das Rheingold - FREIA
'If this beautiful blond young Freia with Elisbaet Strid' s crystal clear voice hadn't stood in his way... '
Der neue Merker - Dr. Sieglinde Pfabigan - September 2013
'and Elisabet Strid with her juvenile full-bodied soprano voice as Freia.'
J.Bartels, Opernglas 09/2013
'Excellent Elisabeth Strid as Freia with her intense expression and facial play'
Der Neue Merker - Dr. Klaus Billand
'Still, some of the characterizations he drew from the singers in “Rheingold” are vivid. Elisabet Strid’s Freia recalled the title character of the recent opera “Anna Nicole.”'
New York Times
Festspiele Bayreuth - Die Feen - ADA
'...and the soprano Elisabet Strid, the most phenomenal singer of this performance, that in other respects is vocally rather modest, seems in the second act like a second Leonore.'
Christian Wildhagen, FAZ, July 2013
www.faz.net
'Vocally outstanding is Elisabet Strid as Ada. Effortlessly she sings this vocally extremely demanding part.
Frankenpost
www.frankenpost.de
'Among the wide range of singers there was the brilliant Elisabet Strid as Ada. Her charaterization distinguished itself through a powerful soprano voice and a perfect voice leading. '
Der neue Merker - Rüdiger Ehlert - September 2013
'The star of the evening was undoubtedly Elisabet Strid in the main role of the fairy Ada. Brilliantly she put in her flexibility and her juvenile dramatic, souvereign soprano potential. All that is missing in order to be a perfect Wagner singer is just a little Italian training or the kind of smoothness and recital practice, which is gained by singing Mozart or Verdi. Tumultuous applause for this discovery.'
M.Lehnert, Opernglas 09/2013
'Given the quality of the performance overall, Ada’s grand Act 2 aria, in which she envisions future misfortunes but resolves to brave them for love’s sake, stood out more than it might otherwise, thanks to an exciting rendition by Elisabet Strid, a soprano with a bright, flexible voice of ample power.'
New York Times
Rheinoper Düsseldorf - Tannhäuser - ELISABETH
"Elisabet Strid with her juvenile dramatic soprano voice sang an extremely Elisabeth. A gratifying new generation of Swedish singers."
Magazin OPERA
"One can really feel sorry for poor Elisabet Strid, faltering down the stage with her burning, fire protecting glove. Otherwise, her interpretation of Elisabeth is solid as a rock. Her richly flowing soprano is an authentic Wagner voice with strenght and warmth in dramatic extent and it is exhilarating to let oneself into her brilliant interpretation. Her stage actions are professional and show a true acting density: she convincingly plays the nun, who keeps believing in the future, until Wolfram rapes her, and who slashes her wrists when Tannhäuser doesn't come back. She also credibly plays the young girl, who is falling in love with the adventurously hero instead of withering with the boring Wartburg Knights."
Opernglas/6 - B. Kempen
"Elisabet Strid is an impressive Elisabeth with majestic heights."
Opernwelt - June 2013
Rusalka – RUSALKA – Opera House Göteborg - October 2012
“ Strid as Rusalka is sensational, powerful in the heights but equally good in the lower parts. Moreover she shows an impressing clarity in the long melody lines..“
Göteborgs Posten
“Elisabet Strid - brilliant. Rusalka's intense longing not only shows in her beautiful, soprano voice, rich of nuances but also in her silent play. “
Aftonbaldet
Tannhäuser –ELISABETH –Tampere Festival - March 2012
"Elisabet Strids lyric soprano sparkled crystal-clear.A soft, angelic voice combined with erotic longing."
Helsingin Sanomat
"Elisabet Strid’s youthful soprano voice excelled. Her portrayal of the character is credible and authentic. A world class singer."
Aamulehti
Rusalka - RUSALKA - Teatro de bellas artes Mexico - March 2011
'Elisabet Strid was a wonderul Rusalka with a lovely, well-projected voice, a warm middle register and ringing high notes.
Her exttremely touching "Lied an den Mond" provoked some true magically musical and visual effects. Her acting as equally convincing, especially when she was not singing, expressing Rusalka's feelings, only by gestures and facial expression.'
Operaclick
Tannhäuser – ELISABETH - Oslo National Opera -
Regie Stefan Herheim – April 2010
'Particularly brilliant Elisabet Strid, whose interpretation of Elisabeth might grace any major local opera house.'
Online Musik Magazine
„'This chaos of assumed truth claim, prudery and carnality is the perfect ambience for the marvellously singing and empathicly acting ELISABET STRID to develop into the counterpole and the emotional centre of the story. The reviewer of this article already witnessed her fulminant debut as Sieglinde in 2007 in Riga. After a brilliant 'Grerat hall of song' she captivated the audience by her bright, perfectly intonating soprano voice. Strid has a great vocal tenique and sings with good diction- a really fascinating role debut! It was only by her appearance and her acutely human relation with Tannhäuser, that the production gained real depth. With Elisabet Strid and the dramaturgy of her role, it becomes clear that only configuration is not enough. In the end, what really matters are individual destinies and how they are played and sung by good singing actors on stage.”
Der neue Merker
„'Elisabeth Strid played a secure, expressive namessake."
Wiener Zeitung
„'Elisabeth Strid greets the singer's hall in an extremely melodious way. .. Not every role reaches an such an excellent standard as Elisabeth...”
Der Standard Vienna
Nationaloper Oslo - Tannhäuser - ELISABETH
‚...beautiful in tone: Elisabet Strid's portrayal of Elisabeth‘
www.fr-online.de
 
 
ON STAGE
Lyric Opera Chicago - Die Walküre - SIEGLINDE
 
Lyric Opera Chicago - Die Walküre - SIEGLINDE
 
Lyric Opera Chicago - Die Walküre - SIEGLINDE
 
Leipzig Opera - SALOME
 
Leipzig Opera - SALOME
 
Finnische Nationaloper Helsinki - Elektra - CHRYSOTHEMIS
 
De Vlaamse Opera Antwerpen - Der König Kandaules - NYSSIA
 
De Vlaamse Opera Antwerpen - Der König Kandaules - NYSSIA
 
De Vlaamse Opera Antwerpen - Der König Kandaules - NYSSIA
 
Wagner Days Budapest - Der Fliegende Holländer - SENTA
Fotograf Posztós János
 
Wagner Days Budapest - Der Fliegende Holländer - SENTA
Fotograf Posztós János
 
Opera House Leipzig - Siegfried - BRÜNNHILDE
 
Semper opera Dresden - Tannhäuser - ELISABETH
photograph Matthias Creutziger
 
Semper opera Dresden - Tannhäuser - ELISABETH
Elisabet Strid with Georg Zeppenfeld
photograph Matthias Creutziger
 
Semper opera Dresden - Tannhäuser - ELISABETH
Elisabet Strid with Georg Zeppenfeld
photograph Matthias Creutziger
 
Semper opera Dresden - Tannhäuser - ELISABETH
Elisabet Strid with Stephen Gould
photograph Matthias Creutziger
 
Semper opera Dresden - Tannhäuser - ELISABETH
Elisabet Strid with Stephen Gould and Markus Butter
photograph Matthias Creutziger
 
Opera Festival im Antiken Theater Plovdiv - SIEGLINDE
 
Nationaloper Riga - Rienzi - IRENE - January 2014
 
Nationaloper Riga - Rienzi - IRENE - January 2014
 
Michigan Opera House Detroit - Der Fliegende Holländer - SENTA
 
Michigan Opera House Detroit - Der Fliegende Holländer - SENTA
 
Michigan Opera House Detroit - Der Fliegende Holländer - SENTA
 
Bayreuther Festspiele - Das Rheingold - FREIA
 
Die Feen – concertant performance in the Oberfrankenhalle Bayreuth
 
Rheinoper Düsseldorf - Die Walküre - SIEGLINDE
Fotos:Matthias Jung
 
Rheinoper Düsseldorf - Die Walküre - SIEGLINDE
Fotos:Matthias Jung
 
ELISABET STRID as ELISABETH in Burkhard Kosminski's much-debated
staging at the Rhine Opera Dusseldorf.
Since the second performance, only concertant representations will take place.
 
Oper Göteborg - Rusalka - RUSALKA
 
Opernhaus Riga - Götterdämmerung - GUTRUNE
 
Opernhaus Oslo - Tannhäuser - ELISABETH
 
 
 
INTERVIEWS - PORTRAITS
Elisabet Strid "Leuchtende Liebe" Interview, June 2017 (english)
Interview with Dr. Thomas Baltensweiler OPERNGLAS, April 2015 (deutsch)
www.der-neue-merker.eu 25. July 2013 (deutsch)