top of page

After her triumphant Senta in Bayreuth, her phenomenal Turandot in Strasbourg, Elisabeth Teige confirms her exceptional gifts. This melodic design with its shimmering platinum, these melismas encrusted with diamonds, these high notes threaded with gold, but also this femininity both fragile and tormented: all this creates a set of wonders which raise this Empress to the highest step.

 - Diapason (Die Frau ohne Schatten, Opera National du Capitole 2024)


The Norwegian Elisabeth Teige revealed herself as an exceptional Turandot, fearlessly facing the feared role and mastering it in a sovereign manner.  The vocal power of her voice seemed to have no limits, imposing itself over all the orchestral forces and effortlessly dominating the large ensemble behind the scene of the enigmas.  Despite the vocal intensity that the role demands, there was not a single shrill note.  Everything in her singing seemed touched by euphony, so that even in the final duet composed by Franco Alfano (offered here in its abbreviated version) she credibly showed the transformation of the icy princess into a woman in love.
- (Turandot, Semperoper Dresden 2023)

And here the extraordinary acting talent of the Norwegian soprano Elisabeth Teige comes to the fore. The singer not only skillfully portrays the most subtle psychological nuances of Turandot's internal transformation, but also lights up the hall with a bright, shining voice, whose timbre is equally pure throughout the entire spectrum, metallic in the upper notes and elastic in the legato middle.
- (Turandot, Semperoper Dresden 2023)

'...but above all, Elisabeth Teige was able to fully develop as the titular heroine with her very versatile, modulating voice and ability to express herself.  Emotionally, with gentle sensitivity, she remembered her abused progenitor and with a subsequent effusive expressiveness intensified her revenge.  Always with admirable clarity and, despite all the passion and expressiveness, always without sharpness in the voice.'
- Online Merker (Turandot, Semperoper Dresden 2023)

Elisabeth Teige is a Turandot with an enormous creative palette.  She masters the task, unusual for an opera singer, of mirroring every emotion in the close-up of her face, which her wonderful singing makes audible.
- Sächsische Zeitung  (Turandot, Semperoper Dresden 2023)

The Norwegian soprano Elisabeth Teige handled the arduous title role with impressive assurance. Her Turandot is undeniably powerful.  Her voice is powerful and floats effortlessly over the orchestra. 

- Der Opernfreund (Turandot, Semperoper Dresden 2023)

"Die norwegische Sopranistin Elisabeth Teige verkörpert Elisabeth trotz oder gerade aufgrund ihres Schicksals als starke, selbstbewusste Frau. Sie singt die Partie voller Wärme, Hingabe, in den Höhen strahlend und klar und überzeugt mit einer äußerst ausdrucksstarken Darstellung.  Sehr ergreifend ist vor allem die Szene im zweiten Aufzug, in der sie um das Leben von Tannhäuser fleht. Auch die Sequenz, in der sie mit Oskar, Manni Laudenbach, die Suppe löffelt, ist unbeschreiblich anrührend."

 - Klassik Begeistert (Tannhäuser, Bayreuth 2023)

Auch Elisabeth Teige als Sieglinde räumt ab wie keine andere. Ihr dramatischer, intensiver Sopran leuchtet sonnenwarm in alle Ecken des Hauses. Draußen herrscht Wetter wie im frostigen Winter, innen strahlt eine stimmliche warme Sommersonne! Zum absoluten Highlight des Abends wird ihr Auftritt im dritten Aufzug: Verzweifelt, hilflos singt sie um ihr Leben mit dem frisch geborenen Siegfried in den Armen. Diese Stimme spürt man so richtig doll unter der Haut!

 - Klassik Begeistert (Die Walküre, Bayreuth 2023)


"If there is one reason to go to Strasbourg and Mulhouse to discover this new Turandot, it is for the Norwegian soprano Elisabeth Teige. We know the overwhelming role and we have rarely had, in recent years, the opportunity to hear it so mastered and magnified. Teige imposes one of those voices with which the countries of the North have overflowed since veterans Nina Stemme and Irene Theorin. After having triumphed last season in Bayreuth as Senta in Tcherniakov's Der fliegende Holländer, the soprano is a vocal storm. Power and suppleness of timbre, intensity of incarnation, sureness of line, her generous means make little work of "In questa reggia" and deliver singularly tragic enigmas. The princess who came from the cold, who will ultimately suffer the rape of Calaf, wins a total triumph during the salutes."

 - Vincent Borel, Concert Classic (Turandot, Opera National du Rhin 2023)

"For her first appearance on a French stage, Elisabeth Teige's Turandot is impressive with authority, ease, security and power in this overwhelming role. Already noticed last year in Bayreuth for her Senta in Der Fliegende Holländer or her Gutrune in Götterdämmerung, she brings out a brazen timbre with fleshy pulp and darting highs with staggering intensity. An excellent actress otherwise, she manages to bring distress and cracks to the surface beyond the icy surface of her appearance."

 - Michel Thomé, Resmusica (Turandot, Opera National du Rhin 2023)

"The Norwegian soprano Elisabeth Teige is today above all a valuable Senta, Brünnhilde and Isolde, and valuable Wagnerian skills for singing Turandot..." 

"...but so much authority in the phrasing and so much reserve of breath remain exceptional. In addition, the actress is subtle, giving real credibility to her character as a blonde heroine, looking like a Hollywood movie star from another era."

 - Laurent Barthel, (Turandot, Opera National du Rhin 2023)

"It must be said that the Opéra du Rhin has found an extraordinary performer in Elisabeth Teige. She impressed everyone in Bayreuth last summer in Der fliegende Holländer and in Der Ring des Nibelungen. The timbre is voluptuous, the voice full and radiant over the entire range (from C sharp to counter C)… and above all the sound volume is astounding! We are however far from a virago, the interpreter knowing how to bend this torrential voice for expressive ends. In this context, the cry of horror evoked by Turandot in "In questa Reggia" crucifies us, seeming to come directly from the dawn of time."

 - Antoine Brunetto, Forum Opera (Turandot, Opera National du Rhin 2023)

"The expression is openly Wagnerian, with a metal that gives pride of place to color and projection. Her In questa reggia makes you hear an ease and a vocal surface which underlines the inaccessibility but also at times the faults of the character."

 - Wanderer (Turandot, Opera National du Rhin 2023)

"The immense Wagnerian Elisabeth Teige, given an ovation in Bayreuth last summer, sumptuously embodies the title role: the projection is obvious, the vocal color imperious and nevertheless without unsightly metal. Finally the song displays a vastness of the most luxurious. The generous resources of Elisabeth Teige, like the unspeakable smoothness of her show, are a revelation."

 - (Turandot, Opera National du Rhin 2023)

"Very noticed for her debut last year at the Bayreuth Festival, the Norwegian dramatic soprano Elisabeth Teige deploys particularly imposing, wide and vibrant vocal means, traversing the murderous tessitura of the role of Turandot with an assertive assurance and passionate phrasing. The actress appears just as skilful, both imperious and murderous in this role, but also sensitive and full of doubts and frustrations. Her arrival on stage, appearing suddenly within the choir, in a majestic way with icy voluptuousness, is striking. In her long lamé dress and her blond hair, she irresistibly reminds us of another Nordic performer with an unforgettable physique, an actress and not a singer, Anita Ekberg in Boccace 70 by Federico Fellini.

 - (Turandot, Opera National du Rhin 2023)

"It is so rare to hear a singer master this terrible role, in almost permanent struggle with an opulent orchestra, switcing her complaints and her curse like a goddess, that Elisabeth Teige’s performance alone justifies that we take the trip to the Opéra National du Rhin! "

 -  (Turandot, Opera National du Rhin 2023)

Elisabeth Teige in the title role plays a proud and luminous ice princess. The range is impressive with its overpowering highs, its very wide vocal range and its impeccable technique. The scene of the three enigmas reveals how she goes from being inflexible to the slightest feeling, to when the final thaw will make her more human. The imposing Norwegian soprano is also applauded for a long time for her performance.

 - Marc Phalippou  (Turandot, Opera National du Rhin 2023)

"And it is also a revelation to hear Elisabeth Teige in the character of the Ice Princess, after having made a sensational debut last summer at the Bayreuth Festival in the role of Senta. The Norwegian soprano asserts a radiant voice, with a clear and sharp timbre which makes its way through the orchestra with disconcerting ease - giving Turandot the icy authority required by the role. She reaps a success as triumphant as deserved at the time of the salutes."

 -  (Turandot, Opera National du Rhin 2023)

" the power of Elisabeth Teige, whose voice seems unbreakable. With her incredible sonic power combined with constant finesse, the ardent soprano equals the greatest in the role, like Birgit Nilsson."

 - Dernières Nouvelles d'Alsace (Turandot, Opera National du Rhin 2023)

"The performance's strongest character is Chrysotemis, sung with great warmth and intensity by soprano Elisabeth Teige. Her portrait of the sister who longs for normality outside the horrible house is the vocal highlight in a performance that is consistently strong on the vocal side."

 - Eystein Sandvik, NRK  (Chrysotemis, Elektra, The Norwegian National Opera & Ballet 2023)



"Elisabeth Teige's Chrysotemis stands out, with touching despair and longing for a better life. The voice has enormous power and beauty, while simultaneously mastering the technically demanding music with great conviction."

 - Aksel Tollåli, Aftenposten (Chrysotemis, Elektra, The Norwegian National Opera & Ballet 2023)

"No tyrant in the world stands a chance against this powerful voice. A two-hour-long triumphal procession of Teige plowed through the Dammtorstrasse!"

 - Johannes Karl Fischer, Klassik Begeistert (Fidelio, Staatsoper Hamburg 2022)

"Die nächste Senta-Sensation.

Sängerisch ist Elisabeth Teige ohne Zweifel die ganz große Entdeckung bei den Bayreuther Festspielen dieses Jahres. Schon als Freia im „Rheingold“, dann wieder als Gutrune in der „Götterdämmerung“ setzte die norwegische Sopranistin mit der durchdringenden Sinnlichkeit, dem sirenenhaft süßen, unheilvoll lockenden Zauber ihrer großen, starken Stimme Ausrufezeichen.

Doch nun hat die künstlerische Leiterin der Festspiele, Katharina Wagner, mit glücklichem Mut Elisabeth Teige als Senta im „Fliegenden Holländer“ von Richard Wagner besetzt und ihr damit verdientermaßen die ganz große Bühne gegeben. Ein einzigartiger, jugendlich-dramatischer Sopran ist da zu bestaunen: Teige versteht es auf wundersame Weise, die Wärme des Brustregisters in die Kopfstimme hineinzunehmen und, ohne zu brüllen, die vielfältigen Nuancen der Kopfstimme enorm zu verstärken."

"...Der Effekt ist verwirrend: Man glaubt, der kostbare, stets halb verschattete Perlmuttschimmer Elisabeth Schwarzkopfs bekomme einen Booster von sagenhafter Kraft, mit viel Körper im Klang."

" Die betonten Auftakte in den Strophen ihrer Ballade mit dem folgenden Quartsprung abwärts haben bei Teige überhaupt nichts Keifendes, sondern klangliche Rundung bei voller Kraft."

 - Jan Brachmann, Frankfurter Allgemeine Zeitung

"Elisabeth Teige lässt das Festspielhaus im Schlussapplaus erbeben.
Dem musikalischen Ensemble ist das einerlei: sie entlocken dem Publikum Begeisterungsstürme, allen voran Sopranistin Elisabeth Teige in der Rolle der Senta. Schwierigkeiten scheint Elisabeth Teige nicht zu kennen. Die Stimme ist unangestrengt, egal wie sie singt, dramatisch, hoch, verzweifelt. Die Stimme ist und bleibt locker und entspannt. Wow! So viel Energie, Eleganz, Geschmeidigkeit. Unglaublich. Vollkommen zu Recht lässt Elisabeth Teiges Darbietung der Senta das Festspielhauspublikum regelrecht ausflippen. Mit Händen und Füßen wird applaudiert, verdiente laute Brava-Rufe."

 - Frank Heublein, Klassik Begeistert (Senta, Der fliegende Holländer, Bayreuther Festspiele 06.08.22)



"Doch plötzlich kommt Leben in die Bude, in Gestalt der Bayreuth-Debütantin Elisabeth Teige als Senta. Sie ist die große Entdeckung des Abends mit ihrer klar geführten, schlanken, aber bis zu den hohen Hs hinauf auch schlagkräftigen Sopranstimme. Elisabeth Teige intoniert perfekt, kann auch leise singen und harmoniert wunderbar mit dem strahlkräftigen Tenor Eric Cutler..."

 - Fridemann Leipold, BR Klassik (Senta, Der fliegende Holländer, Bayreuther Festspiele 06.08.22)



"Elisabeth Teige, die am Tag zuvor schon als Gutrune brilliert hatte, war der unumstrittene Star dieser Aufführung. Diese Senta spielt mit dem trotzig-mädchenhaften Billie Eilish-Image und ist von Beginn an eigensinnig und dadurch stark – auch trotz des rollenimmanenten Opferstatus. Mit diesem zornigen Mädchen ist nicht zu spaßen; sie lässt sich nicht von ihrer Überzeugung abbringen und zieht ihr Ding durch. Stimmlich und spielerisch ist diese Sängerin fulminant und auch in den Extrempassagen absolut sicher."
 - Dr. Andreas Ströbl Klassik Begeistert  (Senta, Der fliegende Holländer, Bayreuther Festspiele 06.08.22)



"Die stimmlich beste Leistung mit einem überragenden Timbre bot die Sopranistin Elisabeth Teige als Gutrune."
 - Andreas Schmidt, Klassik Begeistert (Götterdämmerung, Bayreuther Festspiele 05.08.22)


Elisabeth Teige is the best female voice with her beautifully sung, dark, dramatic-toned and rich-voiced Gutrune.

 - (Götterdämmerung, Bayreuther Festspiele 05.08.22)


"Elisabeth Teige ist die neue Königin der Venuse- UND Elisabeths. Am Anfang die tiefere Mezzo-Lage, warm, dunkel, farbenfroh… rührend. Nach der Pause soll sie also Sopran singen… was, wenn das schief geht? Aber sie wurde immer besser. Je höher im Sopran-Register, desto strahlender ihre Stimme. „Dich teure Halle, grüß ich wieder“, so viel Gänsehaut im Publikum kriegen selbst viele Vollzeit-Sopranistinnen nicht hin. 

Die zweite Hälfte ihrer Doppel-Rolle auszuklammern, wäre nichts anders als eine Herabwürdigung ihrer überragenden Leistung. Bei den melancholischen Stellen „Ich fleh für ihn“ musste man weinen wie sonst nur bei Butterfly. Ihr liegt der Venus-Mezzo, der dramatische wie auch der melancholische Elisabeth-Sopran wie eine glatte Eins."

 - Johannes Karl Fischer - Klassik Begeistert, 27.05.22

(Tannhäuser, Deutsche Oper Berlin)


"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) ...

- (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





bottom of page