AS ONE
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“The outcome was a visceral display of the title itself as Sullivan, cast in the role of Hannah-before, and Bouk, as Hannah-after, were never out of sync in their actions or singing.…"
Chris Ruel, Operawire |
Photo © Brian E. Long 2019
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Bouk’s brilliant contralto voice is allowed to blossom with his vocal line featuring a beautiful melismatic motif... Bouk reached the top of his range…with velvety smoothness and control.”
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STONEWALL
New York City Opera
“The casting of trans man Liz Bouk as the trans woman Sarah would be plenty interesting enough for political reasons, but his shimmering alto also provided a lovely moment of repose…”
James Jordan, The Observer
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Liz Bouk, as Sarah, voiced a compelling and beautifully transformative story. He effortlessly drew listeners into a personal realm that explores the unknown with courage, self-love and compassion.”
Jennifer Pyron, OperaWire |
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“Mezzo Liz Bouk was a stand-out with his dark, perfectly rounded tone.”
Gabrielle Ferrari, Parterre “Charming” David Roberts, TheatreReviews “Touching” Bobby McGuire, The Broadway Blog |
PRINCESS MALEINE
“A performance to remember… Bouk’s stage presence was regal with the right touch of menace.”
Chris Ruel, Operawire, dell'Arte Opera Ensemble's PRINCESS MALEINE, 2019
Chris Ruel, Operawire, dell'Arte Opera Ensemble's PRINCESS MALEINE, 2019
Photo © Brian E. Long 2019
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“Queen Ann of Jutland, portrayed by the fascinating Mr. Liz Bouk whose regal appearance, expressive face and body, and arresting contralto voice lent verisimilitude to the characterization.”
Voce di Meche, dell'Arte Opera Ensemble's PRINCESS MALEINE, 2019 |
Photo © Brian E. Long 2019
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AS ONE
"The acting and singing both were delivered with acute feeling…"
David Hendricks, San Antonio Express News, Alamo City Opera's AS ONE, 2019
David Hendricks, San Antonio Express News, Alamo City Opera's AS ONE, 2019
THE BALLAD OF BABY DOE
As his long-suffering, embittered wife Augusta, Elizabeth Bouk revealed an impressive, firmly grounded contralto,and made the most of Augusta’s conflicting dignity and torment.
Opera News, Utopia Opera's The Ballad of Baby Doe, 2017
"Ms. Bouk has a flinty demeanor and a big voice to match, wielded like a sharp knife...As she makes a last ditch effort to save her ex-husband from his own hubris, the performance climaxed with tremendous power."
Paul Pelkonen, Utopia Opera's The Ballad of Baby Doe, 2017
"Elizabeth Bouk's rich mezzo was a fine counterpart to Ms. Dinkelman's high-flying soprano. Her Augusta grew from the sharp bitterness of a rejected wife to the softer compassion she felt for Tabor when fate turned against him."
Voce di Meche, Utopia Opera's The Ballad of Baby Doe, 2017
Opera News, Utopia Opera's The Ballad of Baby Doe, 2017
"Ms. Bouk has a flinty demeanor and a big voice to match, wielded like a sharp knife...As she makes a last ditch effort to save her ex-husband from his own hubris, the performance climaxed with tremendous power."
Paul Pelkonen, Utopia Opera's The Ballad of Baby Doe, 2017
"Elizabeth Bouk's rich mezzo was a fine counterpart to Ms. Dinkelman's high-flying soprano. Her Augusta grew from the sharp bitterness of a rejected wife to the softer compassion she felt for Tabor when fate turned against him."
Voce di Meche, Utopia Opera's The Ballad of Baby Doe, 2017
ROSINA
"A highlight was (Rosina's) duet with Amparo - the silky mezzo Elizabeth Bouk."
New York Times, dell'Arte Opera Ensemble's Rosina, 2015
“And soprano Elizabeth Bouk sang Amparo, the Count’s coquettish paramour and
would-be seducer of Cherubino, with an unexpected depth of character.”
Opera News, dell'Arte Opera Ensemble's Rosina, 2015
New York Times, dell'Arte Opera Ensemble's Rosina, 2015
“And soprano Elizabeth Bouk sang Amparo, the Count’s coquettish paramour and
would-be seducer of Cherubino, with an unexpected depth of character.”
Opera News, dell'Arte Opera Ensemble's Rosina, 2015
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“As Amparo, we really liked Elizabeth Bouk, whose Komponist in Utopia Opera's Ariadne auf Naxos we recently reviewed. Her mezzo-soprano is clean and pleasant to hear and she has a winning stage presence which made us care about this 18-year-old not-so-innocent. We liked her aria about her origins in Barcelona, daughter of a fish monger and a sailor, trying to advance herself in this world. “
Voce di Meche, dell'Arte Opera Ensemble's Rosina, 2015 |
“Elizabeth Bouk sang the courtesan Amparo quite well, and gave even the predictable passages about the courtesan's life and her difficult upbringing charm and beauty.”
Taminophille, dell'Arte Opera Ensemble's Rosina, 2015 “Elizabeth Bouk’s Amparo was a good time girl with a sense of humor about herself.” Gay City News, dell'Arte Opera Ensemble's Rosina, 2015 |
ARIADNE AUF NAXOS
“Elizabeth Bouk was earnest and sincere as The Composer.”
Tami Swartz, Utopia Opera's Ariadne auf Naxos, 2015
Tami Swartz, Utopia Opera's Ariadne auf Naxos, 2015
THE RAPE OF LUCRETIA
“As the eponymous Lucretia, mezzo-soprano Elizabeth Bouk made a noble but vulnerable heroine. We have been seeing a lot of this rising star lately...Her voice and acting are equally impressive.”
Voce di Meche, Utopia Opera's The Rape of Lucretia, 2015
Voce di Meche, Utopia Opera's The Rape of Lucretia, 2015
COSI FAN TUTTE
“Elizabeth Bouk’s raving Dorabella was another winner, sung with a milky, luscious mezzo:
her first aria ‘Smanie implacabili,’ involved one of the funniest uses of Valium that I’ve seen to date in opera.”
Opera News, Underworld Production's Cosi fan Tutte, 2009
her first aria ‘Smanie implacabili,’ involved one of the funniest uses of Valium that I’ve seen to date in opera.”
Opera News, Underworld Production's Cosi fan Tutte, 2009
PASSION
"Elizabeth Bouk was convincing as Fosca, somehow hiding her natural beauty to portray a woman who believes herself to be homely. It was satisfying to watch her blossom when she succeeded in winning Giorgio's love."
Voce di Meche, Utopia Opera's Passion, 2018
Voce di Meche, Utopia Opera's Passion, 2018