Elisabet STRID  Soprano


In the season 2021/22 further role debuts lie ahead of the Swedish soprano. She is LEONORE in “Fidelio” with Maestro Zubin Mehta at the Maggio Musicale Fiorentino, ELS in „Die Schatzgräber“ in a Christof Loy production at the Deutsche Oper Berlin, EVA in “Die Meistersinger” at the Opera House Leipzig. Besides, she is ELISABETH in „Tannhäuser,“ SENTA in „Der Fliegende Holländer“ , SIEGLINDE in „Walküre“ at the Wagner Festival of the Leipzig Opera and SIEGLINDE in “Walküre” at the Rheinoper Düsseldorf-Duisburg and in concertant performances of the 1st act of “Walküre” at the Teatro Comunale di Blogna.

Lately, she succeeded as SIEGLINDE at the Teatro Real Madrid, the Royal Opera Stockholm, the Gotenburgs Operan, the Norske Opera Oslo and the Lyric Opera Chicago.

In the Yearbook 2020 of the magazine Opernwelt, she was selected best singer for her interpretation of SIEGLINDE at the Gotenburgs Operan. As SALOME she impressed at the Israeli Opera Tel Aviv, the Leipzig Opera and the Teatro Comunale in Bologna.

Further engagements brought her to the Semperoper Dresden, the Stuttgart State Opera, the Opera Michigan Opera Detroit, the Helsinki and the Riga National Opera, the Opéra de Lille, the Flemish Opera Antwerp, the Teatro de Bellas Artes Mexico, the Cape Town Opera, and many festivals including the Bayreuth Festival, the Budapest Wagner Days, the Hong Kong Arts Festival , the Festival Opera Open at the Plovdiv Antique Amphitheatre (Capital of Culture 2019), the Baltic Sea Festival, the Wiesbaden May Festival or the Ravello Festival in Italy.

Elisabet Strid’s repertoire also includes the roles of BRÜNNHILDE (in Siegfried) and GUTRUNE, CHRYSOSTHEMIS or RUSALKA, LISA in “Pique Dame”, GIORGETTA in “Il Tabarro” and ELLEN ORFORD in “Peter Grimes”

Elisabet studied singing at the Stockholm University. While still studying, she made her debut at the Vadstena Academy as ‚Brygitta’, in Carl Unander Scharin’s opera, which he had composed in 2003. First engagements brought her to the Royal Opera Stockholm and the Malmö Opera.

Elisabet Strid is also a very much sought-after soloist for Gala- and Symphony concerts. Her many performances include Francis Poulenc „‚Gloria“ , the 9th Symphony by Beethoven, Wagner’s Wesendonck-Lieder and ISOLDE’s final scene, SALOME’s final Scene with the Stuttgart Philharmonic Orchestra, the Stockholm Symphony Orchestra, the Helsingborg Symphony Orchestra, the Swedish Radio Orchestra, , the Ofunam Symphony Orchestra in Mexico City, the Miscolc Symphony Orchestra, the Bochum Symphony Orchestra… just to name a few. In 2021 she sings Bruckner’s TE DEUM with Zubin Mehta at the Maggio Musicale Fiorentino.

Elisabet Strid works with renowned conductors and stage directors such as Andris Nelsons, Kirill Petrenko, Adám Fischer, Esa Pekka-Salonen, Cornelius Meister, Axel Kober, Dan Ettinger, Ivan Anguélov, Lorin Maazel, Ulf Schirmer, Kent Nagano, Frank Castorf, Stefan Herheim, Barbe & Doucet, Aron Stiehl, David Pountney, Dietrich Hilsdorf, Calixto Bieito.

Her debuts as EVA in “Die Meistersinger von Nürnberg”at the Budapest Wagner Days and as VENUS/ELISABETH at the Deutsche Oper Berlin, just as her return to the Lyric Opera Chicago as SIEGLINDE and her portrayal of Sieglinde in Tokyo were cancelled because of the COVID 19 pandemic. Also her engagements as CHRYOSTHEMIS in “Elektra” at the Teatro Massimo Palermo and at the Tel Aviv Opera and MINNIE in “La Fanciulla del West” at the Teatro Comunale di Bologna didn’t take place due to the pandemic.

Future engagements take her as CHRYSOTHEMIS in “Elektra” to the Santa Cecilia Orchestra in Rome under the musical direction of Maestro Antonio Pappano and to the Royal Opera Copenhague. She also sings EMILIA MARTY in “Vec Makropulos” at the London Royal Opera.

In 2017 her first CD “Leuchtende Liebe” (Beethoven & Wagner) was released at the Oehms Classic label.


Beethoven 9. Sinfonie  
Britten Peter Grimes Ellen Orford
Dvorak Rusalka Rusalka
Puccini Madame Butterfly Clo-Clo-San
  Il Tabarro Giorgetta
  Turandot Liu
Strauss Salome Salome
  Elektra Chrysothemis
Wagner Rheingold Freia
  Rienzi Irene
  Tannhäuser Elisabeth
  Walküre Sieglinde
  Siegfried Brünnhilde
  Götterdämmerung Gutrune
  Die Feen Ada
  Der Fliegende Holländer Senta
Opernhaus Leipzig – Die Meistersinger von Nürnberg - EVA
Elisabet Strid, well-established as highly dramatic soprano at this very opera house, proved that she is also able to project her huge voice more girlish, lyrical-restrained and torn up. She gave a superbly convincing portrayal of Eva.
In Elisabet Strid we find an Eva, who can also be heard here as Sieglinde, Senta, Brünnhilde (Siegfried) and Salome. Her voice is capable of singing jubilating and blooming notes, which makes her just perfect for the role of Eva. Because this young woman is self-confident, self-detirmined and pleasant.
Christoph Suhre, Der neue Merker 11/2021
With a dramatic voice, Elisabet Strid portrayed a self-confident Eva and impressed with her huge voice and a fervent phrasing. She truly deserves admiration , not least because of her subtle characterization.
As Eva, Elisabet Strid brings drama, thoughtfulness and warmth into the performance.
Highly dramatic Elisabet Strid, who has already portrayed Salome or the Siegfried-Brünnhilde at the Leipzig Opera, also used some lyrical and „slightly cautious“ aspects of her register, convincing with bravura as Eva.
Kultura Extra
One seldom gets the opportunity to follow every single word Eva and Magdalena sing, as one can with Elisabet Strid and Kathrin Göring.
Opernhaus Leipzig – Ring- SIEGLINDE
Very expressive Elisabet Strid convinced as Sieglinde.
T.Kliche in DAS OPERNGLAS 6/2021
Teatro Real Madrid – Die Walküre – SIEGLINDE
Let us now take a look at the singers and begin – utterly unusual – with Elisabet Strid, whom I had the pleasure to see her in her first “Walküre” in 2007 in Riga. Once more she was, together with Christoph Ventris, the star of the evening, both vocally and as an actress. Strid’s vocal brilliance and warmth and her perfect diction, combined with her facial expression that seems perfectly natural and suitable for every moment, could be a general instruction for the interpretation of Sieglinde. Incomparable, how she reveals he is her brother, right from the beginning of the tale. And then the enormous tension, she keeps up in the triangular relationship.
Der neue Merker 03/2020 Klaus Billand
The second cast featured some of the most honest singers found today in European Theatres.
Elisabet Strid was an excellent Sieglinde, with a great dramatic soprano voice. Getting better and better during the performance. She was very accomplished in her arias “Der Männer Sippe” and “Du bist der Lenz”. Great high notes and acting.
Emociones Líricas
(...). Outstanding Elisabet Strid, with a well-projected voice, spotless heights, a very good actress, always committed and with the expressiveness of a despised wife and a sister in love.
Plathea Magazine
Königliches Opernhaus Göteborg – Die Walküre - SIEGLINDE
Elisabet Strid proved to be an outstanding Sieglinde, whose passionate presentation in the 2nd act showed a perfect vocal commitment and a performance that reached the outermost limits of complete insanity.
Das Opernglas 2/2020 B.Barrett
Quite the reverse is Elisabet Strid’s Sieglinde, who acts on a truly international level and can easily join the ranks of the great contemporary Sieglinden. She has a particularly bright voice and performs with total engagement, convincing high notes and a beautiful phrasing. Her interpretation of the character is touching and highly committed, her singing is sensitive and powerful at all levels. Here we have a magnificent Sieglinde, who blows one socks of with her Hehrstes Wunder… in the third act. Elisabet Strid could already be seen on many international stages but for her Sieglinde she really deserves a grand Wagner stage.
His partner as Sieglinde, Elisabet Strid, an internationally celebrated Wagner and Strauss soprano, even in Bayreuth, was one of the few protagonists, who truly met with all the vocal requirements of the role. She sounded much more vocal and sang perfect high notes and deep notes, full of character with an adequate facial expression. Her final, wholeheartedly sung „Hehrstes Wunder…“ was extremely touching and was all you can ask for and more.
Opera Online
Elisabet Strid was a fantastic Sieglinde. Not only did she have a terrific ping but also clarity in the lower register, resulting in spine-tingling storytelling as she told Siegmund the story of her father and the sword, and her dream of vengeance. She and Siegmund were beautifully matched, with Strid responding to a sublime ‘Winterstürme’ with a ‘Du bist der Lenz’ of beautifully judged expression.
Seen and Heard International
The producer has developed an ideal portrayal of Sieglinde, flawlessly realized by Elisabet Strid. She perfectly fits in the gallery of legendary role interpreters such as Leonie Rysanek, Nina Stemme and Waltraud Meier. The Swedish singer reproduces every single emotion of the most positive Wagner women. She beautifully manages the change from Hunding’s careworn spouse into a lover, who overcomes all societal boundaries. Her soprano voice wonderfully blossoms in the high registers, her phrasing is highly intelligent. And to all that, she is a dazzling appearance, slender and beautiful.
Semperoper Dresden - Tannhäuser – ELISABETH
A Dresden Wagner Celebration in the Strauss Anniversary Year Fantastic „Tannhäuser“ revival at the Semperoper.
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.
Staatsoper Stuttgart – Der Fliegende Holländer – SENTA
Undoubtedly, the real star of the evening was Elisabet Strid (Senta)… the Swedish soprano turns her role into something tremendously captivating. She charms and amazes at the same time. A rich soprano voice with dense, clear heights, that effortlessly manages all the peaks. Sensitive tones, a colorful voice and a perfect scenic performance, that takes everyone in the audience with her into a journey to the realm of spirits.
Klassik begeistert
Also here, Senta’s ballad is the musical core, because the Swedish soprano knows how to communicate the intensity of her famous ballad to thr audience with an almost direct ardor.
… Thunderous final applause – especially for Elisabet Strid’s touching Senta.
Online Merker
Rehinoper DüsseldorF – Pique Dame - LISA
With a youthful, glowing voice , convincingly swaying between joy and sorrow, the Swedish soprano Elisabet Strid allows a deep insight in the young girl’s soul, which is torn between two worlds.
Opernwelt 7/2019 – Josef Oehrlein
The fact that Hermann of all things falls in love with this uptight nymphet without any sex appeal, is rather surprising. Elisabet Strid, however, makes this sight her own and scenically and vocally blooms as Hermann seems to finally uncocoon her and then making her tragically fall in the end.
A.Laska - Das Opernglas 7/8 2019
Rheinoper Düsseldorf-Duisburg – Die Walküre – SIEGLINDE
The Swedish soprano Elisabet Strid as Sieglinde is a self-confident, strong twin sister, who longs to free herself from her clutches and feels a strong affinity to her twin brother. Elisabet Strid’s clear soprano voice has a delightful timbre and the vocal sustainability is in all registers present. Once again she presented a first class performance. In exactly the right moment Elisabet Strid develops vocal beat and a dynamic introduction of tones, like in the final scene with „Nicht sehre dich Sorge um mich: einzig taugt mir der Tod….“. With impressing ease, she catches the tonal change of the music’s character – even in the high registers, to brilliantly express her high emotions „Rette mich, Kühne! Rette mein Kind! Schirmt mich, ihr Mädchen, mit mächtigstem Schutz“ with sublime delight. In „O hehrstes Wunder. Herrlichste Maid Dir Treuen dank‘ ich heiligen Trost. Für ihn, den wir liebten, rett‘ ich das Liebste: meines Dankes Lohn lache dir einst Lebe wohl Dich segnet Sieglindes Weh‚“ music and singing melt into a perfect unity, which touches the audience deep inside.
Deutsche Oper am Rhein - Pique Dame - LISA
The female counterpart Lisa was sung by Elisabet Strid, with an unrivalled soprano voice. The producer’s idea to let them yet find to each other in death , creates a beautiful final picture and brings both actors well-deserved applause. So many bravos are seldom heard in Düsseldorf premieres.
Der Opernfreund
Teatro Communale di Bologna - SALOME
Salome, like the Moon, is one and multiple; preserving its dark side, it always shows us the same face, but different every time, depending on its light, on the eyes that are contemplating it.

And so it changes, in new veils, with the arrival of Elisabet Strid, who arrives unexpectedly to Bologna just three days before the debut, replacing the colleague who was initially scheduled for the performances of 16 and 19 February. The Swedish soprano is still little known in Italy - where, if I’m not mistaken, had not yet performed - but it takes her only a few moments to put her personal seal and impose herself, showing her absolute mastery of the role, not fearing at all to step into the production on the eve of the first night. In fact, the natural easiness with which she moves through the stage and the score is bewitching: Salome is not a turbulent and mischievous Lolita, Salome shows her innocence, even the disoriented candor in the materialism of a palace that has transmitted a distorted view of her world but has not perverted the soul. Salome is pure, but confused, incapable of understanding and experiencing her own feelings.

The loss of innocence, so well embodied by Elisabet Strid in the Dance of the Seven Veils, is a trauma from which she escapes longing for an alien dream, a sublimated embrace with the idea of ​​a different, true and lost love, destroyed by her own inexperience. The dichotomy between the realistic body and the symbolic colossal head, which emerges from the deep erasing blood and necrophilia in Lavia’s show, finds perfect correspondence in the interpretation of the Swedish soprano. The painful ecstasy of the final monologue is clear, even explicit but never vulgar: it is the akmé, the moment of maximum splendor of a portrait that emerges from the first entrance of the princess and develops in every gesture, in hers curious looking, in the way of sitting decomposed, opening the legs or crouching, in the bright singing that does not cringe in front of the burdensome defiances, but knows how to adapt intelligently and deliver all the nuances and needs of the role.

Her interpretation is just perfect, round, deserving the convinced ovation of the public,…. The character developed by Elisabet Strid is intensely erotic, not barbaric, not perverse; so the barbaric violence never gives up the vivid rhythmic accuracy and subtle nuances that Valčuha controls and unravels, always remembering that Salome is not Elektra, that the nightmare of eros, unlike that of revenge, gently insinuates between the ambiguous rays of the moon. And, without any metaphor, it is expressed in an excellent performance, which is heard in one breath by savoring the beauty of the timbre and phrasing, the intriguing definition of the themes, skillfully framed, with clean articulation, letting the drama emerge with force and incisiveness.
L´Ape musicale
Elisabet Strid’s Salome is a mixture of Enfant terrible and Femme fatale, sung with a clear and by all means clearly articulated soprano voice, which not only gave proof of her Wagner experience. She also sang the role with huge emphasis, consistingly vocally adjusting to every particular challenge of Jochanaan and later Herodes. After an enormous vocal exertion and a dance, which dance figures, fantasy and dynamic were really worth while seeing - obviously she was dancing for Jochanaan rather than for Herodes – she still had the demanding high notes in the final. It was fascinating to observe the gazes she gave Herodes, after having tried in a most coquettish way to get close to Jochanaan. Strid’s facial expressions are the young singer’s exceptional quality. She is sure to have a great career ahead of her.
Online Merker
Israeli Opera Tel Aviv – SALOME
It is not a premiere of the year, it is rather a premiere of the century – there has not been a better “Salomé” at any opera house (at least out of those I have seen, and they are not few by far). Plus, certainly, the heavenly singing of Salomé. The title character, who, according to Richard Strauss, was a “16-year-old with the voice of an Isolde capable of overpowering a big orchestra” was sung by a young Swede, Elisabet Strid, small and fragile, with almost a childish body, for whom the extreme tessitura was not a big deal. Her voice was incredibly easily gliding between the most challenging bends of Salomé’s part – here a filigree silver light, there a dark-register flicker, there a blast-it-all blue flame when uttering an ecstatic final “I kissed thy mouth, Jokanaan.” Each register yielding a gamut of finest dynamic inflexions and inner expressiveness: not a psychotic princess but a naïve and stubborn Lolita with silver hair heeding the Baptist’s prophecies, a bored nymphet, а lewd monster with a heavenly voice and feline plastique. (Elisabet Strid, by the way, is a well-recognised Wagnerian singer who has already sung Brünhilde, Sieglinde, Senta, and her namesake Elisabeth from “Tannhäuser.”)
Lina Goncharsky
In the singing cast, Elisabet Strid (Salomé) takes most of the burden. She hardly leaves the stage throughout the opera. Even when she is silent she has to react, to indicate what is happening to her internally. Moreover, in the last half hour, she keeps singing as if it were one long aria. She does it in style, fully aware of the approach to the idiom of this opera, a beautiful soprano with not only the vocal abilities required by the role but also top dramatic skills. What a pleasure!
Shmuel Ben-Tovim, PLAYS TO SEE
Dressed in virgin white - with very effective blood stains in the final scene– and with silvery shingled hair, the Swedish Elisabet Strid plays a Salome, who looks like a nymphet. Once again, Strid gives proof of her considerable performing talent and her brilliant soprano voice. It is appealing in all registers and succeeds in still being heard above the large orchestra at the forte parts.
Online Merker
Budapest Wagner Days – Der Fliegende Holländer - SENTA
But right from the start Daland’s daughter, portrayed by the blonde Swede Elisabet Strid, particularly stood out. At the beginning acting like a teenage girl, one soon notices this striking young girl is driven by a real adventurous spirit and is fascinated by everything mysterious. But above all, this young lady really sings splendidly. Her rich soprano voice is warm in the middle registers, effortlessly manages the high registers, lets them shine and, if needed, float freely – similar to Birgit Nilsson or Nina Stemme. Inevitably, star qualities are due to follow. That also goes to her detailed, fresh play between total dedication to her visions and a perky and charming play with her friends, her father Daland and the “stranger” . Her ballad with 3 stanzas with the effortless high registers in an impeccable German are just as captivating as her dialogue with the Dutchman. Even there, her adventurous spirit and the will to ally with him shows in her eyes.
Online Merker
Wagner Days Budapest - The Flying Dutchman - SENTA
High level singers.. Elisabet Strid designs an intense Senta and richly coloured singing with nuanced emphasis.
Le Salon Musical
That Strid has a voice that one aficionado said reminded her of a young Nina Stemme singing the same part decades ago helps explain why she and Lundgren formed a perfect vocal partnership.
Opernhaus Leipzig – Tannhäuser - ELISABETH
Vocally, the Swedish singer Elisabet Strid is the ideal Tannhäuser Elisabeth. A youthful-dramatic picture-perfect voice, blessed with perfect high notes, dramatic penetrative power, smooth legato arcs and an exemplary diction. This artist, which I have already heard as Siegfried Brünnhilde has gone through a tremendous development. Strid isn’t just a wonderful singer with a great future as highly dramatic soprano. She is also a first-class actress. Surely there aren’t many colleagues, that would have put up with what she had to endure as Elisabeth. Strid however, presents a perfectly credible figure and fascinates as a thoroughbred stage professional.
Online Merker, Dr. Ingobert Walenberger
Some of the actor-singers, especially Elisabet Strid as Elisabeth, fill the gaps on their own. …One thing is absolutely clear: no matter whether she plays Venus or Elisabeth: Beito directs this woman as Wagner would have done it…. Outstanding her portrayal of the seduced, broken, desperate, violated woman, driven to madness in a (men’s) world, where there is no place for her. Effortlessly, Elisbet Strid, as warm but yet crystal-like, assertive but yet fragile Elisabeth outshines the choir and the orchestra without any virulence. Her” aria of the hall” quivers with hope and exuberance, the beauty of her singing is open for emotional truthfulness.
The so-called “aria of the hall” was the first highlight on this long Leipzig winter night in the middle of March. For Eliabet Strid gave the character life and a melodious voice. She forced the conductor and the orchestra to attune to her and suddenly there even were some softer tones, that sometimes are more touching then every noise.
The Swedish singer Elisabet Strid was already celebrated in Leipzig as Salome. Her Elisabeth makes her even more unforgettable and once again it is she, who is an anchor point of this “Tannhäuser” performance. No matter the deeper meaning of Elisabeth eating dirt off the ground in the 3rd act. Strid succeeds in making visible the madness, she is captured by doing so. Her performance and her first-class Wagner sound are really sensational. She has a warm voice, particularly bright in the high registers.
Kunst und Technik
Deutsche Oper am Rhein – Die Walküre - SIEGLINDE
Such a wonderful voice : Elisabet Strid as Sieglinde. Brightly and powerfully she sings herself to the highlight of the „hehrsten Wunders“. The incredibly emotional and unbending artist belongs to the great hopes in the Wagner repertoire.
Der neue Merker – Johann Schwaz
Likewise Elisabet Strid’s Sieglinde : intense and beautiful in sound, round and firm tones and brilliant in the high registers.
Opernwelt 3/2018 Michael Struck-Schloen
And this Sieglinde is an absolute highlight: the Swedish singer Elisabet Strid endures her destiny with every fibre of her body, with every vibration of her marvellous, nuanced voice, leaving a fabulous impression, both vocally and actingly. She almost merges with her character and totally convinces her audience. Correspondingly inspired, Strid was celebrated.
Oper! Das Magazin – März 2018 – Christoph Schulte im Walde
...with vocal emphasis Elisabet Strid tells Sieglinde’s agony.
Orpheus 2/2018 Christoph Zimmermann
One can perfectly understand that the vocally multidimentional Siegmund, Corby Welch, doesn’t want to leave his Sieglinde, Elisabet Strid. Her nuances are quite astonishing, sometimes perfectly bright and clear, sometimes dark and mysterious: a completely riven soul. In Hilsdorf’s production she rules the roots, not only vocally...
Frankfurter Allgemeine
In the Swedish soprano Elisabet Strid the Rhine Opera has found the perfect cast for Sieglinde. Effortlessly, she sings the demanding part with vocal brilliance, benefiting the entire evening. She enriches every scene. However, by closing one’s eyes to listen to her brilliant singing, one risks missing her intense play.
Literatur und Feuilleton
Sensationel: Elisabet Strid Vocally, this production truly is worth hearing. Really sensational was Elisabet Strid as Sieglinde. Her effortlessly appealing soprano voice full of brilliance and warmth never shows any sigh of stridency or overload, not even in the energy-snapping highlights. Associated with her scenically intense performance she deserves the vocal palm of the evening.
At his side as Sieglinde is the Swedish soprano Elisabet Strid. This singer is a real godsend. Seldom one has heard a female Wagner part so perfectly clear sung. Moreover, Strid has a voice, which perfectly meets all the demands of the role from the pianos onto the huge moments in the second act. Scenically she filled the role with plenty of verve and energy, from which many a collegue could learn something.
Der Opernfreund
Also Elisabet Strid has a great vocal identity. Touchingly, she presents the character’s burden of passion.
Online Merker
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
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
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
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
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
Eisabet Strid’s first Salome is youthfully brilliant and powerful and passionate in the final scenes.
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...
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
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
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
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
Opéra de Lille - Der fliegende Holländer - SENTA
Whereas Elisabet Strid's and Patrick Bolleire's performances as Senta and Daland are remarkable.
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.
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.
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.
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.
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.'
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.
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.
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
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
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!
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
'At his side (third act) the stil quite young Brünnhilde from the Swedish Elisabet Strid-...strikingly bright and brilliantly beautiful.'
Kultura extra, Andre Sokolowski
'Elisabet Strid a fantastic Brünnhilde...a great, opulent voice: Elisabet Strid is Brünnhilde... The last act is an indulgence.'
'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
'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
'really astonsihing however is the voice of the young Swedish Elisabet Strid's Brunnhilde. A truely amazing singer...'
MDR.de/Kultur – Dieter David Scholz
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
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."
'Rienzi' s innocent sisterIrene, brilliantly portrayed by the soprano Elisabet Strid... '
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
'Vocally outstanding is Elisabet Strid as Ada. Effortlessly she sings this vocally extremely demanding part.
'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. “
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."
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.'
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‘
Opernhaus Leipzig – Die Meistersinger von Nürnberg - EVA
Photo: Opernhaus Leipzig
Opernhaus Leipzig – Die Meistersinger von Nürnberg – EVA
Photo: Opernhaus Leipzig
Göteborgs Operan – Die Walküre - SIEGLINDE
Göteborgs Operan – Die Walküre - SIEGLINDE
Göteborgs Operan – Die Walküre - SIEGLINDE
Photo: Lennart Sjoeberg
Israeli Opera Tel Aviv - Salome - SALOME
Photo: Yossi Zwecker
Israeli Opera Tel Aviv - Salome - SALOME
Photo: Yossi Zwecker
Teatro Communale di Bologna - SALOME
Photo: Andrea Ranzi/ Studio Casalucig
Göteborgs Operan - Gala Concert in honor of Birgit Nilsson - Elisabet Strid with SALOME - closing vocals
Rheinoper Düsseldorf-Duisburg - Die Walküre - SIEGLINDE
Rheinoper Düsseldorf-Duisburg - Die Walküre - SIEGLINDE
Rheinoper Düsseldorf-Duisburg - Die Walküre - SIEGLINDE
Rheinoper Düsseldorf-Duisburg - Die Walküre - SIEGLINDE
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

Leuchtende Liebe
Beethoven & Wagner
Released in 2017

Elisabet Strid "Leuchtende Liebe" Interview (english)
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)