Elizabeth Treat, Soprano

Elizabeth kicks off 2019 with the role debut of Fiordiligi, in a winter production of Mozart’s beloved Così fan tutte with Amore Opera at New York City’s Riverside Theatre. She will also star in the much-anticipated revival of Meyerbeer’s coloratura showpiece LÉtoile du Nord with Amore Opera in spring 2020. Elizabeth recently received praise for her “winning” performance, with “attractive trills” and “impressive leaps about the scale” as the titular character in Flotow’s Martha with New York City’s Utopia Opera.

Frequently featured with Washington Opera Society, Elizabeth took the stage in a 2017 “Christmas in Slovenia” concert at the Embassy of Slovenia. Previous appearances in Washington, D.C. include Clorinda in La Cenerentola at The Embassy of France, Marie in a concert of La Fille du Régiment at the Embassy of Indonesia, a gala at the U.S. Embassy of the Republic of Poland, Queen of the Night in Die Zauberflöte at the Colombian Embassy, and a triumphant Washington debut as Rosina in Il Barbiere di Siviglia at the O.A.S. Hall of the Americas with Opera Camerata, led by Metropolitan Opera conductor Gregory Buchalter.

Elizabeth reprised her acclaimed Rosina in Il Barbiere di Siviglia at a special holiday opera concert in historic Van Vleck House with Opera Theatre of Montclair, in December 2016. This followed her February 2016 company and role debuts as Konstanze in Mozart’s Die Entführung aus dem Serail.

Other recent projects include vocal jazz collaboration with long time pianist/arranger for Rosemary Clooney, John Oddo; as well as a recording project with pop sensation Gotye, for a retrospective on electronic music legend Jean-Jacques Perrey.

Elizabeth has reprised her popular Queen of the Night with the Light Opera of New Jersey, Regina Opera, Amore Opera, One World Symphony, New York Lyric Opera, and Intermezzo Opera with the Charlemagne Orchestra in Belgium. She has also sung principal roles in several U.S. premieres, including Susanna in Mercadante’s I due Figaro, Isabella in Donizetti’s Olivo e Pasquale, and Queen of the Night in Peter von Winter’s long lost sequel to The Magic Flute, Das Labyrinth.

In spring 2013, Elizabeth performed the national anthem at a star-studded groundbreaking ceremony for a new national tennis center in New York City’s Crotona Park. Other concert highlights include soprano soloist in Faure’s Requiem in central Illinois, a summer musicale with New Jersey’s Pacific Encore Performances, and an opera dinner concert series in collaboration with TasteMunich in Germany.

Invited on occasion to perform popular standards and showtunes at Bemelman’s Bar in New York’s famed Carlyle Hotel with the esteemed late Chris Gillespie, Elizabeth has been a life-long lover of the Great American Songbook, having performed since early childhood in American musicals before discovering opera. Elizabeth holds performance degrees in both piano and voice, with highest honors. She lives in New York and studies voice with Gerald Martin Moore.

Artist’s Website


“…Pretty…sweet and well trained—the trill is attractive, the leaps about the scale in her final aria impressive…”
                                                                                                                  John Yohalem, Parterre Box

“Lady Harriet winningly sung by soprano Elizabeth Treat…”
                                                                                                                 Meche Kroop, Voci di Meche

“…Excellent…Elizabeth Treat properly regal, but yet sinister as the Queen of the Night.”
                                                                                                     Rick Busciglio, NJ Theatre Examiner

“The Queen of the Night Elizabeth Treat captivated the audience as she instructed her daughter in this intimate performance.”
                                                                                                         Tierney Brown, K Street Magazine

“Beautiful, statuesque Elizabeth Treat was a sassy Susanna, with an unusual voice that melded stratospheric Queen-of-the-Night acuti onto a powerful, almost contralto bottom register.”
                                                                                                       Daniel Foley, MusicalCriticism.com

“The Rosina of Elizabeth Treat was pert without being precious, using her bright, agile soprano with confident flair. She had fine chemistry both with her ardent suitor and with the charming Figaro.”

“Elizabeth Treat was an accomplished Susanna…handling the high flying coloratura passages with ease.”
                                                                                            Harry Forbes, Forbes on Film & Footlights

“Elizabeth Treat’s chambermaid, Adele, was vocally adept with all of the requisite coloratura and high notes firmly in place.”
                                                                                                     John Hammel, HomeGrownRadioNJ

“Elizabeth Treat…brought a great sense of musical style and thrilling technical singing to the role of Queen of the Night.”
                            Bartholomeus-Henri Van de Velde, Conductor, Charlemagne Orchestra for Europe

“Elizabeth has everything one looks for in a soprano of her type – brilliant high notes, of course, complete assurance in coloratura, musical taste, dramatic sensitivity and striking good looks.”
                                                                                     Fabrizio Melano, Director, Metropolitan Opera

“Elizabeth Treat’s chambermaid, Adele, was vocally adept with all of the requisite coloratura and high notes firmly in place.”
                                                                                                     John Hammel, HomeGrownRadioNJ