Liz’s 2026/27 season marks a significant evolution of her work as both performer and creator with the world premiere of This Silent Music, an interdisciplinary performance experience inside Philadelphia’s James Turrell Skyspace. Inspired by a world that often awards noise over nuance, the project unfolds slowly as an antidote to cultural numbness, weaving together three world-premiere commissions, unconventional instrumentation, and the architecture of one of only 100 Skyspaces worldwide. The season also includes company debuts with Brick Church Music Series as soprano soloist in Ein Deutsches Requiem with orchestra, and Concerts in the Heights at Lehman College Art Gallery for a solo recital. Elsewhere, Liz returns to Savannah Voice Festival in concert, performs Bach’s Magnificat with Clarion Society, and serves as cover soloist for Mozart’s Requiem with Orchestra of St. Luke’s at Carnegie Hall, with additional performances to be announced. 

Beyond the traditional boundaries of classical performance, Liz creates genre-defying projects that excavate forgotten histories, examine questions of identity and social consciousness, and explore the ways music can bring communities together. Her original projects transform the concert experience into something more immersive, collaborative, and unexpected. Prohibition draws on the smoky, subversive soundworld of the Jazz Age, featuring classical and jazz works censored for their politics, poetry, sexuality, or the identity of their creators and performers, while Rooted weaves Arabic melodies, Barber art songs, and contemporary works into a musical exploration of heritage and migration inspired by Liz’s discovery of her Lebanese ancestry. Her newest project, This Silent Music, continues this exploration through an interdisciplinary performance experience for which she serves as co-producer, creator, and performer. The work features three world-premiere commissions and reimagines the relationship between performer, audience, architecture, silence, and sound. Across her creative work, Liz builds spaces where genres dissolve, traditions are questioned, and audiences are invited to experience music in new ways.

Known for her stylistic fluidity, Liz has made recent company debuts with MasterVoices for the NYC premiere of Doug Varone’s To My Arms / Restore, led by Ted Sperling, St. John’s Ensemble in Chicago for Telemann’s rarely heard Die Tageszeiten cantata, and New York Choral Society for Reena Esmail’s This Love Between Us. She has collaborated in salons with opera legends James Morris, Frederica von Stade, and Sherrill Milnes, and has appeared in performance with Paul O’Dette and Stephen Stubbs of the Boston Early Music Festival, as well as Metropolitan Opera pianist Howard Watkins. A frequent soloist with Voices of Ascension and Riverside Orchestra, she has also appeared with Oratorio Society of New York, New American Songbook Orchestra, Kollective366, Stonington Opera, Bard Summerscape, Modus Operandi Orchestra, Bach Vespers Orchestra, Dark Horse Consort, and concerts at the Museum of the City of New York, the Met Museum, Carnegie Hall, throughout Italy, and at the Salzburg Festival in Austria. Liz is also featured on the 2026 Grammy-nominated album Requiem of Light with the Clarion Society.

Recognized for bringing “touches of smoldering drama” (Musical America), operatic highlights include Mimì in La bohème with Savannah Voice Festival; Léontine in a concert version of L’Amant anonyme with Voices of Ascension; Sweet Bird in James Darrah and Peabody Southwell’s staged production of Handel’s L’Allegro with Hawaii Performing Arts Festival; and Iris in Opera Omaha’s Semele – where she “provided some much welcome comic relief” (Wall Street Journal) and “stole her scenes as a spritely Iris with her iridescent soprano” (Omaha World-Herald). Additional leading roles include La Traviata, Dialogues of the Carmelites, Serse, Almira, and Die Zauberflöte. As part of New York Opera Fest, she premiered Ben Yarmolinsky’s newly expanded secular oratorio The Constitution, prompting Parterre Box to write, “Liz almost stole the show with her easy-breezy tone and high-octane scatting.”

Unapologetically switching between melismas and riffing, Liz made her Off-Broadway debut as Glinda in a parody of Wicked with Drunk Musicals, joined the cast of Michael Mott’s In the Light for its NYC premiere with the launch of the Broadway Workroom Series, and has appeared in new musical development with New York Theater Barn and Fire Island Pines Project. She frequently performs with her jazz-fusion band, most recently at an anniversary celebration for Coca-Cola® at the Statue of Liberty. 

Liz is the winner of the Sherrill Milnes American Opera Award and a finalist in the Joy in Singing International Art Song Competition and the Winter Park Oratorio Society Competition. She holds degrees from the Eastman School of Music and Oklahoma City University. When not singing, Liz can be found wearing a multicolored jumpsuit, cooking something ambitious, or advocating loudly for causes and political campaigns she believes in. She is based in New York City – but will travel. If it’s music, she’s in.