(Excerpt from review of Altamura/Caruso International Voice Competition):

Among a bouquet of lyric and dramatic sopranos . . . Elizabeth Perryman stunned with her visceral performance as Santuzza in Mascagni's Cavalleria Rusticana. Perryman's first aria at the opening concert of the competition, Donna Elvira's Ah, che dice mai? from Mozart's Don Giovanni, carried with the classic dramatic splendor of that great Teutonic soprano Eleanor Steiber - a solid core of perfectly focused tone. In Santuzza's scene with Turridu, the man who abandons her, pregnant, to return to his first true love, Lola - Tu qui, Santuzza? Perryman spent as she sustained that same vocal focus in a gutty dramatic spill. Nothing rough, no bathos, but utterly compelling, her woman grasped the house.

Kitty Montgomery, Reviewer
Saugerties Post Star,Thursday 25 September 2008

(Excerpt from review of The Eglantine):

The Rachel of Elizabeth Perryman was fully satisfying on all levels. Her acting was fine and her singing was full and resonant throughout. Ms. Perryman has richness to her lyric soprano with very even temper throughout her vocal register and very pleasing timbre. She displayed exquisite control of her technique whether floating her high tones or allowing them to cascade forth with fulsome amplitude. With all of the requisite opportunities and breaks, Ms. Perryman is capable of having a wonderful and deserved career.

John Hammel, The Mozart to Motorhead Show
Saturday mornings from 7-10 A.M.
WNTI, 91.9 F.M. www.wnti.org
Thursday 4 August 2005 

(Excerpt from review of Don Giovanni):

As Elvira, Elizabeth Perryman anchors the piece with her warm soprano and sincerity. When, at the close of the action, she announces, "I will enter a convent," one wants to cry out, "Don't do that! You've got a career in opera!"

Anita Donovan, Special to The Times
The Times, Princeton, NJ
Friday 20 August 2004

(Excerpt from review of Carmen):

Elizabeth Perryman, a doctoral student in LSU's music department, is earnest and appealing as Micaela, the sweet-natured peasant whom Don Jose, if he had any sense, should marry. Perryman's scenes with Groves possess real poignancy.

John Writ, Entertainment Writer
The Advocate, Baton Rouge, La.
Friday 23 March 2001

(Excerpt from the article Grayson in concert):

Grayson is going to perform something he's long wanted to sing, the duet from Puccini's Manon Lescaut, with soprano [Elizabeth] Perryman. "I am just finding the right soprano, Perryman, to balance my voice to sing the Puccini duet," he said. "Martina (Arroyo, opera star and former artist in residence at LSU) and I were going to sing it in New York to celebrate the 75th anniversary of LSU, but she became ill and we had to cancel. I've always wanted to sing it, and now I'm going to do it."

Anne Price, Advocate arts critic
The Advocate, Baton Rouge, La.
Sunday 3 September 2000

(Excerpt from review of Cosi fan tutte):

Elizabeth Perryman's Dorabella was certainly in the same league. Her voice is large and evenly produced from top to bottom. While as musically fine as Mathis-Clark, Perryman brought an extra dimension to her portrayal of Dorabella by her fine actiong. She seemed the most at home on stage of all the women Friday evening. Her big aria, "Smanie implacabili" was very well done.

David Coco, Advocate music critic
The Advocate, Baton Rouge, La.
Sunday 26 March 2000

(Excerpt from review of Beauty and the Beast):

The music ... is lush and romantic, in the Puccini tradition, and was well sung by Elizabeth Perryman as Beauty, [and Matthew] Polenzani."

Carl Lebovitz, Reviewer-at-large
The Times-Courier, Charelston, Il.
Monday 19 March 1990