Le Nozze di Figaro (Susanna) - Opera Holland Park 2021
'Here his cast is strong on team spirit, with a few individual performances of exceptional promise. The linchpin — as Mozart surely intended when he “demoted” his prima donna, Anna Storace, from the Countess to the longer role of her chambermaid Susanna — is the young soprano, Elizabeth Karani, new to me, who establishes her star potential with a vividly acted, brightly sung performance crowned by an exquisitely phrased, tastefully decorated Act IV aria. Her Shawshank Redemption duet, Song to the Breezes with Nardus Williams’s luscious Countess, was a moment of sublime beauty that made you forget the singers’ silly wigs and bask in Mozart’s ravishing music.'
Hugh Canning- The Sunday Times
'Karani’s silvery voiced Susanna, wonderfully self-assured, gives him as good as she gets in their confrontations, sounds lovely in the act three Letter Duet with Williams, and is touchingly affectionate in her scenes with Ramgobin’s naive, attractive Figaro."
Tim Ashley- The Guardian
'The role of no-nonsense Susannah was intelligently played by Elizabeth Karani, her assured soprano giving way to an exquisite tender solo in Act IV. ' Karine Hetherington, ArtMuseLondon
"She brought great comic potential to such scenes as the one where the Count tries to seduce her, and her managing of the Count was delightful, but you sensed the serious woman underneath ending of course with a beautifully judged account of 'Deh vieni' in Act IV. But it is in the recitatives and ensembles that we really get to know Susanna and Karani brought a sense of character into every moment.”
'Elizabeth Karani's capable Susanna pulls off her musical marathon with energy to spare, her relationship with the Countess one of female mutual understanding, as if they share a silent coded language.'
Culture Whisper- Claudia Pritchard
'there are some velvety moments from Karani'
Claire Jackson- The Telegraph
'This is still a youthful company by opera standards, but for the past decade OHP has nurtured young artists, with a perceptive eye for talent. The fruits were on offer in a new staging of The Marriage of Figaro (sung in Italian) in which three of these homegrown singers took principal roles, triumphantly: Elizabeth Karani (Susanna), Nardus Williams (Countess Almaviva) and Julien Van Mellaerts (Count Almaviva)'.
Fiona Maddocks- The Guardian
'…with Elizabeth Karani and Ross Ramgobin working hard as the artful Susanna and Figaro, both vocally secure and alert to all the comic possibilities as they plotted to outwit the lecherous Count of Julien Van Mellaerts...'
Stephen Pritchard- Bachtrack
L'Inganno Felice (Isabella) - West Green House Opera 2019
'Elizabeth Karani projects the part of the wronged Isabella strongly, with accomplished coloratura which demonstrates the full command of vocal technique Rossini was already demanding at so young an age.' Curtis Rogers - Classical Source
'The piece is sung and acted to excellent effect by Thomas Humphreys (Tarabotta), Timothy Dickinson (Ormondo), Adam Temple-Smith (Bertrando), Jan Capinski (Batone) and especially Elizabeth Karani as Isabella.' Sam Smith - MusicOMH
Lucio Papirio Dittatore (Rutilia) - Buxton International Festival 2019
'In Buxton, a top cast tackled this work with enthusiastic commitment...Robert Murray, William Towers, Elizabeth Karani, Eleanor Dennis and Gareth Brynmor John all shone’ Fiona Maddocks - The Observer
‘...Elizabeth Karani and Eleanor Dennis as the lovers Rutilia and Cominio, all cope heroically with the coloratura challenges set by Caldara’s score.’ Andrew Clements - The Guardian
‘The cast assembled for this rare revival are all accomplished Baroque stylists, with all the flexibility, technical security and range of colours this music demands...Elizabeth Karani as Rutilia, Fabio’s other daughter, has a different timbre from her sister’s, but is her equal in fine singing and acting. Just as one is wishing Caldara had made more of her, she is given a testing dramatic aria, and seizes her moment.’ Michael Tipler - Bernard Lee Music
‘Soprano Elizabeth Karani, played the part of Rutilia. She made a strong impression in her aria, directed towards Servilio who was pursuing her, but for whom she only had hatred; it was expressively rendered, and displayed an attractive depth to the voice. She has a strong coloratura, and delivered her recitatives with versatility and purpose.’Alan Neilson - The Operawire
'A strong team of young singers had been assembled....There were fine supporting performances from William Towers, Eleanor Dennis, Elizabeth Karani and Gareth Brynmor John’ Anthony Ogus
‘Elizabeth Karani and Eleanor Dennis provide an equally competent, though lighter-veined, romantic partnership as Rutilia and Cominio respectively, often even comically so in Karani’s case as she fends off the unwelcome attentions of Servilio.’ Curtis Rogers - Classical Source
'Rutillia est la sœur du condamnée. Elizabeth Karani lui prête un soprano habile et un grand sens de la scène.' ('Rutilia is the sister of the condemned. Elizabeth Karani lends her a skilled soprano and a great sense of the stage.' trans.) Anaclase
Hansel and Gretel (Gretel) - English National Opera 2019
'The singers’ words work well in an English translation by David Pountney, and come across clearly without surtitles, with the main vocal pairings strongly executed by Heather Lowe (Hansel) and Elizabeth Karani (Gretel)' Clive Burton - Theatre World
'We enjoy the sweetness that Heather Lowe and Elizabeth Karani share as the siblings. Lowe is incredibly playful as Hansel, and has the childlike physicality down to a tee. Karani is the perfect contrast as Gretel; disciplining her brother, being the firmer of the two. Both are strong storytellers and their performances are charming.' Charlie Wilks - Broadway World
'Heather Lowe and Elizabeth Karani bring a youthful energy to the roles of Hansel and Gretel, bounding around the stage with glee.' Rhiannon Evans - West end Wilma
'The singing, in English, is clear and audible throughout. Heather Lowe as Hansel and Elizabeth Karani as Gretel convince as brother and sister and as children.' John O'Brien - London Theatre 1
'Heather Lowe and Elizabeth Karani in the title roles are frisky kids, dancing away their hunger pangs with the Floss. ' Claudia Pritchard - Culture Whisper
The Monstrous Child (Nanna/Embla) - Royal Opera House, Covent Garden 2019
'Elizabeth Karani provided strong support in a pair of soprano roles.' Planet Hugill
Die Fledermaus (Rosalinde) - Diva Opera 2018
'Elizabeth Karani masters the role of the formidable Rosalinde to perfection, with a charming sound and a stunning Czardas.' Robert Pénavayre
‘La très sûre Elizabeth Karani, alias Rosalinde, est magnifique dans sa Czardas...' Victoria Okada - Les Clefs ResMusica
Eugene Onegin (Tatyana) - Mid Wales Opera 2018
'Given the earlier suggestion that Tatyana is really the centre of the opera it was important than Elizabeth Karani’s Tatyana was well, if quietly acted, plausibly both innocent and strong of character and sung with considerable beauty of tone.' Glyn Pursglove - Seen and Heard International
'Elizabeth Karani’s Tatyana reacted to her rejection not with tears and tantrums but a cool dignity. This Tatyana particularly, and rightly, grabs us during the wonderful letter scene and then the final showdown with Onegin.' Mike Smith - Art Scene in Wales
‘His Tatyana is Elizabeth Karani: she fields a warm and secure soprano.’ Rupert Christiansen - The Telegraph
‘Tatyana is played by young British soprano Elizabeth Karani. It is refreshing to see young artists playing characters of roughly their age throughout this production...Ms Karani is at her best during her lengthy letter scene in scene two of act one. She portrays the passion that Tatyana is expressing in her letter to Onegin with both power in her singing and movement in her acting’. Roger Barrington - Get The Chance
‘Tchaikovsky's second scene is a tour de force for Elizabeth Karani holding the stage alone for an extended period. She takes her character on its arc of maturity. At the opening she is a meditative reader of novels and impulsive letter-writer. By the third act she has moved to a position possessed of the grace for the renunciation of impulse.' Adam Somerset - Theatre in Wales
‘Tatyana, Elizabeth Karani, has more clarity and drive, gamely supported by Maria Jagusz’ Filipyevna...’ Steph Power - The Stage
La Bohème (Musetta) - Opera Holland Park 2016
'Elizabeth Karani was a pert and pretty Musetta, singing the waltz song with a lovely sense of clarity which suggested an admirable fluency in coloratura, yet combined with wit and a sense of humour.' Robert Hugill - Planet Hugill
Der Schauspieldirektor (Mademoiselle Silberklang) - Opera Box 2017
'Karani, her fitness-freak challenger, was her match in their vocal duels, displaying lots of vocal colour and evenness across the registers.' Claire Seymour - Opera Today