Sound Bites DeShong by Dario Acosta.jpg
Vocally stunning, and shining with personality, American mezzo Elizabeth DeShong achieves power and sensitivity with her rich, focused voice, and dazzles with precise, fluent coloratura.
— Graham Rogers, The Stage

   FEATURED REVIEWS

As Hermia in Britten’s A Midsummer Night’s Dream at The Metropolitan Opera 

“Conlon also shepherded a breakout performance from Elizabeth DeShong as Hermia. DeShong was an unstoppable presence. Others have gone all out with the acting, both comic and plaintive, but DeShong combined it with one of the finest new voices to be heard at the Met – plummy and rounded but nonetheless with reliability of rhythm.” 

-William R. Braun, Opera News   

   

“The quartet of misbegotten human lovers was wonderful: the tenor Joseph Kaiser as Lysander, the baritone Michael Todd Simpson a resonant Demetrius, the soprano Erin Wall bright-voiced as Helena and, most memorably, Elizabeth DeShong as Hermia, her mezzo-soprano creamy and her acting memorable in slapstick and heartache.”

-Zachary Woolfe, New York Times   

  

“The lovers’ music is often warm and sensuous, with a bit of colorful drama when the sisters fight. The sense of lush overflow when the four finally reconcile and appreciatively drink in each others’ affection is a highlight of the performance. All sing with fresh, opulent voices, with Elizabeth DeShong a standout as a vocally sumptuous Hermia.” 

-Ronni Riech, The Star-Ledger   

  

“…DeShong, as the forgotten love Hermia, was of particular note for her flexible, incredibly rich mezzo voice.” 

-Sophia Vastek, The Classical Review 

  

“In Benjamin Britten’s centennial year, the Met revives Tim Albery’s strange, hypnotic production of the composer’s intimate “A Midsummer Night’s Dream.” The staging walks the line between childlike and childish, with straightforward costumes and oversize settings, arranged innocently askew, that have the homespun feel of a school pageant. Britten gave each of the opera’s three worlds a distinct sound—the beguiling tintinnabulations of the fairy realm, the ripe lyricism of the young lovers, the bumbling farce of the rustics—which the conductor James Conlon realizes beautifully. Lestyn Davies’s bright, ethereal Oberon, Elizabeth DeShong’s plummy Hermia, and Matthew Rose’s larger than life, firmly sung Bottom anchor the cast, but Barry Banks, the most delightful ham on two legs, delivers Flute’s eleven-o’clock number with undeniable appeal.”

-The New Yorker   


Bach Cantata No. 60, O Ewigkeit, du Donnerwort with
Dudamel and the Los Angeles Philharmonic

“Using a small orchestra Dudamel nicely negotiated between opposing schools of Bach performance. He allowed modern instruments to produce their luxuriant singing sounds but tempered them enough to keep counterpoint clean. The singers were expressive. Mezzo-soprano Elizabeth DeShong sounded more like a full-bore, opulent alto, and wonderfully so. Tenor Benjamin Bliss and bass-baritone Kelly Markgraf, along with suave orchestral solos from violinist Nathan Cole and oboist Ariana Ghez, were all finely gauged.”

-Mark Swed, Los Angeles Times


Lieberson’s Neruda Songs with The Cleveland Orchestra

“While the memory of Hunt Lieberson remains closely attached to the Neruda settings, the gifted young mezzo Elizabeth DeShong gave a mesmeric performance. Exuding glamour, DeShong spanned the score’s wide vocal range in dusky tones, her rich low notes and wild upward leaps strongly enunciated. She conveyed the text’s vivid drama, registering mood swings from nervous agitation to passionate declarations of love and, finally, acceptance of loss. A superb singing actress, DeShong seemed to live the music and text, imparting her own stamp on a remarkable score.” 

-Lawrence Budmen, South Florida Classical Review

  

“Anyone familiar with Hunt Lieberson’s incomparable artistry, with her natural gift for phrasing melodic lines and dynamic shaping, would understand the enormity of the shoes Mezzo- soprano Elizabeth DeShong had to fill for this performance. With a deep but tender, powerful but soothing voice, and a vast palette of musical colors, DeShong more than did both Mr. and Mrs. Lieberson justice. It was an intimate rendition, becoming apparent that Ms. DeShong understands that Neruda Songs are filled with a sort of delicate passion and peace made with the loss of a loved one.” 

-Fernando Landeros, Artburst                                       

   

“The round and rich voice of mezzo Elizabeth DeShong navigated this five movement piece, fraught with beauty and dissonance, illuminating the different phases of love and loss. From the opening arpeggios, the oboe and clarinet apparently following DeShong, the first 2 movements were highlighted with lush strings in a slow dance, courting the mezzo, sparkling orchestral flair-ups turning and swirling around her. DeShong, vocally pure from bottom to top, became prayer-like in the third, crescendoed in the fourth, and in the melodic fifth, cresting and falling toward a stirring conclusion, recited “amore” as the orchestra finished with a long satisfying chord.”

-Steve Gladstone, miamiartzine.com