About
Elizabeth Bishop brings to her teaching more than 30 years of performing experience with leading opera companies and orchestras. She has sung more than 100 performances at the Metropolitan Opera, including the leading roles of Didon in Les Troyens, Fricka in Das Rheingold, and Iphigénie in Iphigénie en Tauride, Venus in Tannhäuser, and major roles with San Francisco Opera, Lyric Opera of Chicago, Washington National Opera, Deutsche Oper Berlin, and Teatro Carlo Felice, Genoa. A detailed list of her credits can be found in the section marked “About me.”
She has taught at the Juilliard School since 2019 and the Peabody Institute since 2023, in the young artist programs of Washington National Opera and Palm Beach Opera, and at summer festivals including the Aspen Music School and Chautauqua. She also maintains an extensive private studio, and from 2015 to 2020 was the director of the Potomac Vocal Institute, providing voice lessons, coaching and workshops for aspiring singers in the Washington DC area.
Her students have won top competitions including the Metropolitan Opera Laffont Competition, joined leading young artist programs, and gone on to sing in prominent theaters around the world
Testimonials
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Betsy shared with her wealth of vocal and artistic wisdom gained through her storied years of dedication to our craft, but also urged me to take ownership and command of my own instrument- a winning combination in the teaching of singing.
Megan Moore
Juilliard Graduate • Winner YCA Competition • Metropolitan Opera Singer
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I look back on my days playing for Betsy’s lessons with great fondness; she consistently cultivates an atmosphere of confidence, clarity, kindness, and above all a love of theatrical, operatic singing.
Katelyn Terrell
Metropolitan Opera
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Mezzo-soprano Elizabeth Bishop, by singing Wagner sublimely Saturday with the Atlanta Symphony Orchestra, made an overwhelming declaration
... Superlative musicianship is what matters, her singing seemed to say ...
Bishop accomplished all this when she sang the “Liebestod,” ... her mellow, perfumed-tone, tight control and insight into the texts showed her a mezzo without flaws.
The Atlanta Constitution
