"That the casting was uneven is not because the singers were bad, but because Elisabeth Teige was so good and multifaceted that the others were overshadowed. Teige carries unproblematically in speech singing in low register. She expresses jealousy with force in all registers, and flatters and indulges with a lowered gaze and a twinkling voice. Not least, in a performance with lies and deception,
which ends with death and corruption, Teige uses the opportunity to make the hall of Olavshallen tremble with its power.
The aria Vissi d’arte became a gem in Teige’s interpretation, where she showed that she can have a whispering middle
register and a lyrical height. My admiration rose even more when I heard her wide palette of timbres,
which she painted with, without spending time finding the core of the tone."
- Magnus Andresson - Klassekampen, 28.03.22
(Tosca, Trondheim Symphony Orchestra and Opera)
"...Elisabeth Teige as Tosca is the big star of the evening. Teige has a bright, big voice that effortlessly cuts through the orchestra.
It's at the top that her voice is really flourishing, but she has plenty of power through all the registers. She sings with such a large surplus,
both technically and interpretively, that the role sounds easy."
- Aksel Tollåli - Scenekunst, 29.03.22 (Tosca, Trondheim Symphony Orchestra and Opera)
"The big highlight in this production is undoubtedly Elisabeth Teige in the lead role as the diva Floria Tosca. One thing is Teige's instrument itself: a lyrical-dramatic soprano voice that is both beautiful and rarely powerful. It retains its fullness right up in the top register, and is characterized by a bright and fast moving vibrato that gives the voice intensity without ever being annoying. Here she also makes a naked and skinless vocal portrait of the temperamental and stabbing prima donna, liberating free from vocal clichés and mannerisms."
- Eystein Sandvik - NRK, 25.03.22 (Tosca, Trondheim Symphony Orchestra and Opera)
"Teige is in a league of her own as Tosca, sitting on the chaise longue reminiscent of the classic Corbusier designed with Pierre Jeanneret and Charlotte Perriand in 1928. She sings the famous aria Vissi d’arte and asks why God has abandoned her. Under Gilhuus' minimalist direction, there is a tight expression where the light is Tosca from above. I get chills and the crowd explodes in applause."
- Maria Eie Sandvik - Adresseavisen, 24.03.22 (Tosca, Trondheim Symphony Orchestra and Opera)
"...a spirited performance by Norwegian soprano Elisabeth Teige, who will be singing the role at Bayreuth this summer. She strikes a convincing balance between naïveté and selfless devotion, and commands the stage in the solo spotlight, weaving a mesmerizing tale of the Dutchman’s curse. Teige’s strong acting skills complement a distinctive voice, notably rounded and colorful for a dramatic soprano, and in this role, imbued with passion and longing, a beguiling blend of strength and vulnerability."
- Frank Kuznik, Bachtrack (Der fliegende Holländer, Prague State Opera 2022)
"Elisabeth Teige's Sieglinde is absolutely radiant, with a lovely round voice, full-bodied, and quivering, regardless of her position (standing or lying down) ...
- anaclace.com (Die Walküre at Deutsche Oper Berlin November 2021)
"I have left the best till last and near the end Elisabeth Teige sang an engrossing and dramatically credible Senta’s Ballad. I was drawn into her totally captivating performance and, in my opinion, Teige thoroughly deserves the recognition of receiving The Kirsten Flagstad International Anniversary Award 2020, in the form a portrait of Flagstad painted by Håkon Gullvåg. The jury included opera director Randi Stene and she was onstage for the presentation and explaining their reasoning included: ‘[Teige] is a singer who conveys delicate moods, burlesque, sensual humour and dramatic interpretations of Wagner, Verdi, Puccini and Beethoven.’ Before concluding ‘Dear Elisabeth Teige, you are completely after Kirsten Flagstad’s heart!’, Stene went on to praise her seamless technique, natural tone, talent, and vocal splendour. All those qualities and more were heard in Teige’s Senta’s Ballad. She should have sung Gutrune (Götterdämmerung) this summer in Bayreuth and I would have been there, and I hope it is not to long before I do get to hear her live."
- Jim Pritchard, Seen&Heard International (Kirsten Flagstad Jubilee Concert at The Norwegian National Opera & Ballet October 2020)
" In the repertoire of The Norwegian Opera & Ballet is “Madama Butterfly” one of the most played operas – but this year's set has something that makes expectations extra exciting: soprano Elisabeth Teige in the title role. […]
This was Elisabeth Teige's performance. There are few title roles that place so much emphasis on one and the same character. In act two and three, usually played after the break, Madama Butterfly – or Cio-Cio-San, which is her real name in the performance – is constantly on the stage. It alternates between monologues around her thoughts and dialogues with other characters. […] And not even in the longest and heaviest tutti, she needs to step up in her technique. […] She retained intensity and vocal power throughout the three hours of the show.
Of course, what qualities one values in a voice can depend a lot on taste. But Teige's vocal power and ability to master the soundscape of a full orchestra places her among the few international singers who are able to do so.
In the second and third act – in which Butterfly is quickly thrown between different emotions, such as Pinkerton's love and her overestimation of his character – she gives the music such a clear character that everything carries to the back row of the Opera.
- Magnus Andersson, Klassekampen (Cio-Cio-San in Madama Butterfly, Den Norske Opera & Ballett 2020)
"In der aktuellen Wiederaufnahme sang Elisabeth Teige die Titelpartie. Sie zeigte vor allem ein Portrait der liebenden, leidenschaftlichen Frau. Die Primadonna trat bei ihr völlig in den Hintergrund. Mit viel Engagement betonte sie das Natürliche des Rollencharakters. Dazu passte es auch, dass ihr Gesang die große musikalische Geste eher verweigerte. Und doch konnte ihre Stimme alle Herausforderungen souverän bedienen. So geriet vor allem das „Vissi d‘arte“ besonders anrührend."
- Dirk Schauß, Der Opernfreund (Tosca, Nationaltheater Mannheim, 2019)
"Elisabeth Teige, as Irene, had a bright and penetrating voice that stood out in the ensemble scenes. She had a winning stage presence and acted well the part of a woman torn between her role as a supporting sister and a lover to Adriano, the son of a nobleman."
- Ako Imamura, Bachtrack (Irene, Rienzi at Deutsche Oper Berlin, 2019)
"Within a tight and well planned cast, the powerful and penetrating voice of the Norwegian soprano Elisabeth Teige stood out. One can only praise its dramatic capacity, without fissures, standing out in the heavy ‘Abscheulicher!’ with an amazing ease and sufficiency. It is an important voice that seems to offer a more than promising future."
-Jordi Maddaleno, Platea Magazine (Leonore, Fidelio at Semperoper Dresden, 2018)
"In the trouser role of heroine Leonore (aka Fidelio), Norwegian soprano Elisabeth Teige gave a solid performance and displayed her weighty, steady and attractive voice to significant affect, projecting her high notes remarkably well."
- Michael Cookson, Seen and Heard International, 17.05.18 (Fidelio, Semperoper Dresden)
"Her sensational voice and stage presence dominate the opera."
- Susan Nickalls, Opera Now (Senta, Der Fliegende Holländer at Bergen National Opera)
"That we belive in this ending is first of all because of Elisabeth Teige in the role of Senta. She is a breathtaking, dramatic soprano. A real Wagnerian singer. In addition to this, she has a formidable stage presence, and brings us - through out the evening - a Senta of real flesh and blood."
- Peter Larsen, Bergens Tidende, 11.03.18 (Der Fliegende Holländer at Bergen National Opera)
"It's the intensity of the voice, she has this special presence that makes you move forward and really listen already from the first note. It's really a great achievement."
- Eystein Sandvik, NRK (Senta, Der Fliegende Holländer at Bergen Nasjonale Opera)
"Teige has the emphatic drama, and enthralling soulfulness in her soprano."
- Stefan M. Dettlinger, Mannheimer Morgen, 21.12.17 (Leonore, Fidelio at Nationaltheater Mannheim)
"The shining star of this production is definitely Norwegian soprano Elisabeth Teige in the title role. She was a marvellous Senta in last year’s Der fliegende Holländer and her Butterfly was even more sensational. The fifteen-year-old geisha is of course something far removed from Wagner’s heroine, but Butterfly also needs a grand voice and Ms Teige delivered with beautiful steady tone, powerfully and with expressivity. She was truly glorious in the long duet that ends Act I; “Un bel di vedremo” in
Act II was heartrending and together with Siv Oda Hagerupsen we were treated to a magical cherry blossom duet, magical and playful. She crowned her performance with a touching final act. A great achievement indeed!"
- Göran Forsling, Seen and Heard International (Cio-Cio-San, Madama Butterfly at Opera på Skäret)
"She (director Leslie Swackhamer) has a perfect interpreter in Norwegian Elisabeth Teige. Her warm and powerful soprano voice lifts the tragedy, and in Butterfly's famous aria 'Un bel di vedremo...' we get from her a real character of despair."
- Bo Löfvendahl, Svenska Dagbladet (Cio-Cio-San, Madama Butterfly at Opera på Skäret)
"As Senta, the Norwegian Elisabeth Teige made her house debut. It was a blissful encounter with a singer that you would like to experience again in Frankfurt. You could hear an ideal-typical dramatic voice that combines youthful freshness with power."
- Opernfreund, May 2017 (Senta, Der Fliegende Holländer at Oper Frankfurt)
"It is guest soloist Elisabeth Teige who is the star of this show. With depth in her soprano timbre she separates herself from the prevailing soprano heroine as her role, Leonore, also does. It requires an adult and resonant voice to gestalt Leonore without letting the role tip over into the farcical. But Teige does so with assurance. With great strength in depth and a characteristic airy midrange she is magnetic as Fidelio. When she is eventually revealed as Leonore and Beethoven sends her into the higher soprano tenant, she is no less impressive."
- Maren Ørstavik, Aftenposten 04.04.17 (Leonore, Fidelio at The Norwegian Opera & Ballet)
"In this Elisabeth Teige stands as a beacon. You hear her clear soprano in spite of that the other soloists contribute simultaneously and choir singing in earnest. Just that in itself is a strong achievement. The performance is primarily hers. She dominates from the first moment. In the duet between Leonore and Florestan - (Henrik Engelsviken) - at the end, it raises itself towards almost heavenly heights."
- Kjell Moe, Kulturspeilet 02.04.17 (Leonore, Fidelio at The Norwegian Opera & Ballet)
"Magnificent was the young Norwegian soprano Elisabeth Teige; Boldness and enthusiasm where equally effective in her body language, and with this her powerful voice was anchored in a solid core."
- Peter Hagmann, Opernwelt (Elsa, Lohengrin at Theater St.Gallen)
"The wonderfully confident soprano voice of Elisabeth Teige (the career of this young Norwegian soprano must be kept in mind and ear) resonates radiantly and brightly in her arias Einsam in trüben Tagen and Euch Lüften,
the duet with Ortrud: Es gibt ein Glück das one Reu, and the bridal scene with Lohengrin with touching intensity,
an intensity she also displays in her acting."
- Kaspar Sannemann, Oper Aktuell 30.10.2016 (Elsa, Lohengrin at Theater St. Gallen)
"The Norwegian soprano Elisabeth Teige´s Elsa is of strong character, and still manages to pull off the more dreaming passages excellently."
- Thomas Schacher, Neue Zürcher Zeitung (NZZ), 22.10.16 (Elsa, Lohengrin at Theater St. Gallen)
"Elisabeth Teige sings Elsa beautifully with a focused timbre specially in the high register."
- Saiten, 22.10.16 (Elsa, Lohengrin at Theater St. Gallen)
"Elisabeth Teige as the dreamy, loving, anxious and ultimately deeply disappointed Elsa, who can express everything from mild affection to violent anger with her warm voice."
- Rolf App, St.Galler Tagblatt 22.10.16 (Elsa, Lohengrin at Theater St. Gallen)
"The young Norwegian soprano Elisabeth Teige is a real stroke of luck.
Already the introductory pianissimo tones in the spinning scene tells us about a beautiful timbre
and a straight-controlled soprano.
The vocally difficult ballad and the big confrontation in the second act she mastered superbly and with glossfull height."
- Henry Larsson, Tidskriften Opera 01.09.16 (Senta, Der fliegende Holländer at Opera på Skäret)
"She has all the gleaming top notes but also the softness
that is also part of Senta’s character. Hers is a sensational reading of the role."
- Göran Forsling, Seen and Heard International 03.08.16 (Senta, Der Fliegende Holländer at Opera på Skäret)
- SVT (Sveriges Television) 03.08.16 (Senta, Der Fliegende Holländer at Opera på Skäret)
"The Norwegian soprano Elisabeth Teige is fantastic as Senta , she manages to portray both the girlish naivete, the blind certainness and the hopeless confirmation thirst in the demanding role -
and she sings absolutely incredible."
- Nicholas Ringskog, Dagens Nyheter 01.08.16 (Senta, Der Fliegende Holländer at Opera på Skäret)
"Norwegian Elisabeth Teige, who sings the role of Senta, has a ecstatically shining soprano."
- Karin Helander, Svenska Dagbladet 31.07.16 (Senta, Der Fliegende Holländer at Opera på Skaret)
"Elisabeth Teige sing the possessed girl Senta with an incredible voice with both core and lyrical shimmer."
- Anna Lundström, Nerikes Allehanda 31.07.16 (Senta, Der Fliegende Holländer at Opera på Skäret)
"(...) We barely believed what we heard and sat all the time wondering if the voice would last to the end. It did! And like a champion she filled her role very well (...)!
- Kjell Moe, Kulturspeilet 06.11.15 (Senta, Den Flyvende Hollender, Den Norske Opera & Ballett)
"(...) Elisabeth Teige performed a brilliant role debut as Senta in Richard Wagner's opera The Flying Dutchman Thursday evening, 5.11. at the Norwegian Opera in Oslo. She shines with a large, very beautiful soprano sound, suitable for this demanding role, constantly heard on the top of the big, sometimes very powerful orchestra (...)"
- Henning Høholt, Kulturkompasset 06.11.15