Opera News has applauded American soprano Liz Lang for her "comedic timing and clear resonant tone."
Liz kicks off the 25/26 season with the Voices of Ascension Gala, featuring a world premiere by Nico Muhly, and makes her company debut with St. John’s Ensemble in Chicago with Telemann’s Die Tageszeiten. Elsewhere, she appears as the soprano soloist in concert with Modus Operandi Orchestra for Handel’s Messiah, Voices of Ascension for the Monteverdi Vespers, the Riverside Orchestra for a to-be-announced commission, and the Clarion Society for Bach’s Magnificat. Liz continues a successful streak of unique multi-genre recitals with Rooted, a musical map of identity exploring her Lebanese heritage, and other performances to be announced.
Known for her crossover abilities throughout multiple genres, Liz has made recent company debuts with MasterVoices for the NYC premiere of Doug Varone’s To My Arms / Restore with Ted Sperling, New York Choral Society for Reena Esmail’s This Love Between Us with David Hayes, The Savannah Voice Festival as Mimì in La bohème, and the newly founded Broadway Workroom Series for the NYC premiere of Michael Mott’s In the Light. Liz is a frequent soloist with Riverside Orchestra, with recent highlights including Barber’s Knoxville: Summer of 1915 and Bach’s Magnificat, and with Voices of Ascension, where appearances include the soprano soloist in Haydn's Lord Nelson Mass, Mozart’s Requiem, and Léontine in a concert version of L’amant anonyme. She has recently collaborated on meaningful salon concerts with opera legends James Morris and Frederica von Stade, and delighted audiences during an anniversary party for Coca-Cola at the Statue of Liberty with her jazz-fusion band. Garnering attention for her genre-bending and intricately curated recitals, Liz recently debuted I’m not mad, a thought piece exploring the psychology of Ophelia, toured her acclaimed recital Prohibition featuring previously censored or banned provocative classical and jazz music, and traveled to Venice, Italy for an artist residency and writing retreat to begin work on her newest show.
Liz made her Lincoln Center debut in a new production of La Traviata with the Philharmonic Orchestra of New York as Annina and the Violetta cover, following her professional debut and highly acclaimed interpretation of Iris in Handel’s Semele with Opera Omaha. In this new production directed by James Darrah and conducted by Grammy award winner Stephen Stubbs, "Liz Lang stole her scenes as a spritely Iris with her iridescent soprano" (Omaha World Herald) and "provided some much welcome comic relief" (Wall Street Journal). Other operatic achievements include Blanche in Dialogues of the Carmelites, Atalanta in Serse, Edilia in the first complete American performance of Handel’s Almira with members of the Boston Early Music Festival, Papagena in Die Zauberflöte and soprano soloist in Handel’s L’Allegro il Penseroso at the Hawaii Performing Arts Festival, Adina in L’elisir d’amore, Violetta in La Traviata, the Foreign Woman in The Consul, Frasquita in Carmen, and Shirley Kaplan in Street Scene. Liz was a finalist in the 2024 Joy in Singing International Art Song, a semifinalist in the American Traditions Vocal Competition, and is the winner of the 2019 Sherrill Milnes American Opera Award.
Bringing “touches of smoldering drama” (Musical America) to operatic and musical stages alike, Liz recently made her Off-Broadway debut as Glinda in Wicked/Wasted with Drunk Musicals and joined the first cast of Barn on Fire with Fire Island Pines Project and New York Theater Barn. This new musical residency, mentored by Broadway’s Jerry Mitchell, was designed to support original, culture shifting musicals in development and was featured on SiriusXM with Broadway Names host Julie James. Liz previously collaborated with long-time pianist and colleague Michael A. Ferrara in a joint residency with the Rogers & Hammerstein Foundation and the National Asian Artists Project to perform selections from R&H shows and recent Broadway highlights from The Prom, Once on this Island, Phantom of the Opera and more, led and narrated by leading industry professionals and conductors. Other recent highlights include a reading of a new musical by Jack Coen about intergalactic aliens, a Javanese Purim spiel with Gamelan Son of Lion, her role debut as Fiona in Brigadoon with the Savannah Voice Festival, and concerts with the Equinox Swing Orchestra.
Liz has been a soloist with the Salzburg Festival, Oratorio Society of New York at Carnegie Hall (cover), New American Songbook Orchestra, the Juilliard School, Kollective366, Stonington Opera, Bard Summerscape, Bach Vespers Orchestra, on tour with Ballet Hartford, and throughout Italy. She has appeared in recital with Grammy award winner Paul O’Dette, and Met Opera pianist Howard Watkins, and premiered Ben Yarmolinsky’s newly expanded The Constitution: a Secular Oratorio with the Vertical Player Repertory and Grace Chorale as part of New York Opera Fest, causing Parterre Box to exclaim, “Liz almost stole the show with her easy-breezy tone and high-octane scatting.”
Liz earned her Master of Music in Vocal Performance and Literature from the Eastman School of Music in the studio of Rita Shane after completing her Bachelor of Music degrees in Opera and Music Theatre at Oklahoma City University under the leadership of Dr. Frank Ragsdale. She is based in New York City studying with long-time Met Opera broadcast commentator, Ira Siff. lizlangsoprano.com