Vermont Philharmonic Scenes from “Andre Chenier”

Performance with Consummate Discipline, Coordination by David K. Rodgers  (Hardwick Gazette)

Elizabeth Perryman had fine warmth and color in her soprano voice, with just the right amount of vibrato to be expressive, in a melody from Act 3, about her mother’s death by the revolutionaries. 

Dana Kawalautzki Lauducci: Week 3 of Masterwork Summer Sings brought us Mozart's Coronation Mass — and soprano Liz Perryman delivered a stunning Agnus Dei. Her radiant tone and graceful phrasing left the room in awe.

Mid Ohio Opera “Un Ballo In Maschera”

As his love interest, Amelia, Elizabeth Perryman was dramatically effective, never more so than in her Act III aria, “Morro, ma prima in grazia,” where the woman’s husband threatens to kill her because he wrongly believes her and Ricardo’s interest in each other has been consummated. Perryman was completely swept up into the drama of the role.

Bronx Opera “Hansel & Gretel”

“In the Bronx Opera’s production of Engelbert Humperdinck’s Hansel & Gretel Elizabeth Perryman’s interpretation of Gertrude, the mother, lived up to every expectation in terms of vocal flair. However, it was her acting ability that truly shined, simultaneously able to portray an aggravated old shrew and a deeply concerned parent.”

Altamura/Caruso Competition

As Santuzza:

“Perryman stunned with her visceral performance as Santuzza in Mascagni’s Cavalleria Rusticana.  In Santuzza’s scene with Turridu, the man who abandons her, pregnant, Perryman spent as she sustained the same vocal focus in a gutty dramatic spill; nothing rough, no bathos, but utterly compelling.  Her woman grasped the house.”

As Donna Elvira:

“Perryman’s first aria at the opening concert of the competition carried with it the classic dramatic splendor of that great Teutonic soprano Eleanor Steber-a solid core of perfectly focused tone."

Vermont Philharmonic Scenes from “Andre Chenier”

Music Review: Vermont Philharmonic delivers truly grand opera By Jim Lowe Staff Writer

Then it was time to bring out the “big guns” — big voices, that is — for two arias and the final scene from Umberto Giordano’s “Andrea Chénier.

Even more famous is the aria, “La mamma morta (My Dead Mother),” sung with passionate beauty by soprano Elizabeth Perryman, a frequent soloist with the New Jersey Symphony. Another big voice, she delivered all the emotion and then some in this heart-rending aria.

Perryman and Herskowitz, joined by baritone Michel Kabay setting the scene, delivered the finale, Act IV, in all its tragic beauty. Kosma and the Philharmonic supported them all the way, sensitively realizing Giordano’s rich harmonies and sonorities for a potent performance.