Elizabeth Beers Kataria is magnificent as the conflicted title character who learns the consequences of having your cake and eating it too. [...] Kataria's Manon wears her new station in life well. She seems born to this exquisite existence, and is the picture of confidence and grace as she dances and preens before Geronte and an enclave of admirers.[...] Kataria's Manon is pitiable as she wastes time trying to steal a few expensive things. Her desperation and Des Grieux's frustration is palpable. (Reviewed for the AL.com by Tamara Ikenberg)
Der fliegende Holländer - Utah Festival Opera
"Senta, the object of his search, was sung with technical brilliance and breathtaking control by soprano Elizabeth Beers Kataria. Equally adept at capturing an engaging dramatic arc, Kataria played the hopeless romantic with an obsession for the Dutchman’s legend. [... ] the couple’s ensuing duet was operatic gold as they warily sized each other up. [ ... ] From the opening strains of the storm-tossed overture to the gripping finale, this "Dutchman" swelled with dramatic and musical intensity." (Reviewed for the Salt Lake Tribune by Robert Coleman)
"UFOMT newcomer Elizabeth Beers Kataria is stunning as Senta, who willingly proves herself faithful until death. Her soprano voice is lustrous and exquisitely expressive in the Dutchman's ballad which is the core of the opera's second act. Ms. Kataria is also a gifted actress, providing dramatic depth to what could easily have been a more static portrayal."
(Reviewed for the Herald Journal by Charlie Schill)
Der fliegende Holländer - Opera Carolina
"Senta, the angel who frees the Dutchman from his eternal wandering, is sung in this production by Elizabeth Beers Kataria in her first appearance at Opera Carolina. Gifted with a beautiful top register of unusual purity and power, the young singer made a believable Senta" (Reviewed for CVNC.org by Peter Perret)
"Elizabeth Kataria a marvelous Senta in @OperaCarolina's "Dutchman" with a soprano of ample size but capable of floating high pianissimos." (@PaulHyde7 Greenvilleonline.com)
"Performed with great conviction...she gave the ballad of the Dutchman, which lies at the center of the work, its requisite spookiness, and was as convincing in the final trio." (Reviewed for the Charlotte Observer by Philip Larimore)
"Ms. Kataria was a touching Senta, thanks to her acting ability and well-modulated voice with a beautiful timbre." (Reviewed for Opera Lively by Luis Gazzola)
Ariadne auf Naxos - St. Petersburg Opera
"Ultimately, Strauss' opera is a contest of divas, Zerbinetta and Ariadne, the prima donna on the desert island of Naxos, played by Elizabeth Beers Kataria. Both she and Jung were superbly up to the occasion in the Act 2 opera-within-the-opera on Friday. Kataria was in lustrous voice, her big scene on the purity of death, Es gibt ein Reich, emerging in gorgeous warmth and eloquent phrasing. This was richly dramatic singing."
(Reviewed for the Tampa Bay Times by John Fleming)
Viva Verdi! - Orchestra Miami
" Y espectacular Elizabeth Beers Kataria en su creación de la intrigante y asesina Lady Macbeth. "
(Reviewed for El Nuevo Herald by Daniel D. Fernandez)
Read more here: http://www.elnuevoherald.com/2013/11/13/1613156/un-hermoso-homenaje-a-giuseppe.html#storylink=cpy
Suor Angelica - Chelsea Opera
"Because “Suor Angelica” is essentially a work for three vocalists and a chorus, the opera demands an extraordinary amount of talent from its principals, and the singers saddled with bringing Angelica, Zia and Genovieffa to life during the Sunday matinee did not disappoint. Soprano Elizabeth Beers Kataria in the title role has the most difficult task of the three; she is on stage for the entire opera, and must run the entire gamut of emotions in a little under an hour. Kataria ought to have quite a career before her, for she negotiated the twists and turns in Angelica’s character without a hitch, changing from feigned cheerfulness to fevered hope to fearful anxiety without difficulty, and culminating in a shattering performance of the pivotal “Senza Mamma” which she traversed with an ease that belied its difficulty, reducing several members of the audience members to tears in the process." (Reviewed by Lou Santacroce, former producer and host of National Public Radio’s “At the Opera.” )
Passion, Power and Politics - Concert with the Chautauqua Symphony Orchestra
"Elizabeth Beers-Kataria has a clear, pleasingly columnar dramatic soprano that showed admirable evenness in testing ensembles from Fidelio and Norma. In the Consul's "To this we've come," her more refulgent toned reading made an interesting contrast to [...] Chautauqua Opera's production. Beers-Kataria has the vocal goods and becoming dignity; ..."
(Reviewed for the Chautauquan Daily by David Shengold)
The Consul - Chautauqua Opera
"All the young artists skillfully portray older ages, no mean feat. [...]. Tenor Joseph Haughton (Nika Magadoff) and dramatic soprano Elizabeth Beers-Kataria (Foreign Woman) carry off their roles with good voices and aplomb their characters ..."
(Reviewed for Opera News by David Shengold (10/9 issue)