| Elizabeth Turnbull |
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Introduction
 “…(her) controlled passion, acute timing and glistening presence were a treat throughout.” Toronto Star – Geoff Chapman
BiographyA Winner in the Metropolitan Opera National Council auditions, North American finalist in the International Bernstein Song and Oratorio Competition, and recipient of a Canada Council Career Development grant, Elizabeth Turnbull is a mezzo with a distinguished reputation in the U.S. and Canada, hailed by the press as "(one) of this country's finest singers, luminous and rich-voiced". Credits include MESSIAH at the National Arts Centre in Ottawa, Beethoven’s SYMPHONY No. 9 with the Regina Symphony, Olga in EUGENE ONEGIN for Opera Lyra Ottawa, the role of Mother in the world premiere of INES for Queen of Puddings Theatre in Toronto, a concert featuring the music of Mendelssohn for the Aldeburgh Connection and Schafer’s ADIEU, ROBERT SCHUMANN for the Ottawa Symphony. Ms. Turnbull has also been heard in the Canadian premiere of DEAD MAN WALKING (Calgary Opera), as Dame Quickly in FALSTAFF (Opera Lyra Ottawa) and in concerts with the Aldeburgh Connection of Toronto. In the U.S., she sang in Bach’s WEIHNACHTSORATORIUM (Nicholas McGegan and San Francisco’s Philharmonia Baroque) and MESSIAH for Los Angeles’s Musica Angelica. Her association with composer John Estacio continued with her World Premiere performance of Elizabeth I in his FROBISHER for Calgary Opera. Of special interest were her performances of Mahler’s SYMPHONY No. 2 with the Ottawa Symphony and Augusta Tabor in the Canadian premiere of THE BALLAD OF BABY DOE for Calgary Opera. Ms. Turnbull sang the role of Emilia in OTELLO for Dallas Opera in the opening of their new Winspear Theater and has also been recently heard as Alma March in LITTLE WOMEN for Calgary Opera, with Edmonton’s Richard Eaton Singers in Verdi’s REQUIEM and Bach’s MATTHÄUS PASSION, Edmonton Opera as Emilia in OTELLO and MESSIAH with the National Arts Centre Orchestra in Ottawa. Her next appearance for Calgary Opera is as Zita in GIANNI SCHICCHI. Among her additional credits are the world premiere of FILUMENA for the Calgary Opera, Ulrica in UN BALLO IN MASCHERA for Opera Lyra in Ottawa, Madame de la Croissy in DIALOGUES DES CARMÉLITES for Calgary Opera, and Juno in Handel’s SEMELE for Chicago Opera Theater. Following the Banff Centre performances of Estacio’s FILUMENA, she was in Edmonton with the Richard Eaton Singers for Bach’s WEIHNACHTSORATORIUM, then back in Calgary for MESSIAH. She has also appeared with Trevor Pinnock and Les Violons du Roy in Montreal and with the Edmonton Symphony singing Mozart’s KRÖNUNGSMESSE. At the Ravinia Festival, Ms. Turnbull sang with Christoph Eschenbach in Brahms' SONGS FOR PIANO, ALTO and VIOLA, while David Owen Norris was her pianist for Schubert Lieder. After her debut as Mercedes in CARMEN for the Dallas Opera, she was called back for the Dritte Dame in DIE ZAUBERFLÖTE. She sang Beethoven's Symphony No. 9 and Mahler’s Symphony No.8 with the Vancouver Symphony, and Haydn's ST. CECILIA MASS for Chorus Niagara. Ms. Turnbull debuted with Virginia Opera as Gertrude in ROMÉO ET JULIETTE and appeared for the Berkshire Opera as in DIE ZAUBERFLÖTE. Critically acclaimed as Irene in Handel's TAMERLANO at the Aldeburgh Festival, she sang with Calgary Opera as Olga in EUGENE ONEGIN and also appeared as Alisa in LUCIA DI LAMMERMOOR with the opera companies of Edmonton and Regina. Bradamante in ALCINA, Mallika in LAKMÉ and Countess Federica in LUISA MILLER for Toronto's Opera in Concert, Ms. Turnbull was featured as Mrs. Gleaton in the Vancouver Opera production of Floyd's SUSANNAH. She recorded Haydn's HARMONIEMESSE and Mozart's LITANIAE LAURETANAE with Rilling and the Vancouver Cantata Singers; further credits include the Guelph Spring Festival, New Music Concert Series, the Elora Festival, and the world premiere of Victor Davies' REVELATION with Bramwell Tovey and the Winnipeg Symphony. Ms Turnbull has recently accepted a position on the voice faculty of the University of Alberta. January 2012
For further information, please visit www.elizabethmturnbull.com.
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Reviews“…(her) controlled passion, acute timing and glistening presence were a treat throughout.” Toronto Star – Geoff Chapman
“Husky-toned mezzo Elizabeth Turnbull, Ulrica with her dramatic gestures and sense of theatricality was totally convincing.” Opera Canada – Earl Love
“The notable turn was Turnbull’s as she navigated from an acid-tinged rendition of Re dell’ abisso affretati from Verdi’s MASKED BALL, to a beguiling Mon coeurs’ ouvre à ta voix from Saint Saëns’ SAMSON ET DALILA, to a bravura turn in Hence Iris, hence away from Handel’s SEMELE. Throughout, she showed off a flexible instrument and emotional purpose.” The Toronto Star – John Terauds
“Turnbull has an old-fashioned style of singing and it’s utterly charming. Her aria Bereite dich, Zion, mit zertlichen was ardent and expressive, with lovely phrasing. She truly seemed to be enjoying herself.” Winnipeg Free Press – December 2007
“Turnbull in particular, was a revelation. Without losing any vocal thrust of presence, she handled the contrasting emotional feel of the Angel and the Queento great effect.” The Edmonton Journal – D. T. Baker
“Elizabeth Turnbull, as Duchess Federica had all the plush tone and drive for Verdi singing.” The Globe and Mail – Urjo Kareda
“Elizabeth Turnbull, with rich, lustrous voice, used stylishly.” The Edmonton Sun – John Charles
“Striding about with her mop of black curls, long nails and high-heeled mules, Elizabeth Turnbull’s Juno was a women who had smashed through her share of glass ceilings. Venting her anger, vowing revenge, her ample mezzo hurtled from frantic heights to ominous depths.” Chicago Sun Times – Wynne Delacoma |