She has a soaring voice that can be lyrical and Wagnerian at the same time and a fine musical sensibility that helps her communicate intense emotion... Her rendering was profoundly satisfying... Futral, with the full force of the Charleston Symphony Orchestra behind her Thursday night, demonstrated both the flare of youth and the shaded awareness of mortality.“   - Richard Strauss‘ Four Last Songs w/ Charleston Symphony, THE POST AND COURIER, November 21, 2014

“Barber’s evocative ‘Knoxville: Summer of 1915,‘ for soprano and orchestra, closed off the first half of the program. Futral brought to this work her considerable dramatic gifts as an opera singer... Riley and Futral were effectively collaborative and communicative with their interpretation, so much so that, at the end of the piece, there was a magical moment of breathless silence before the audience applauded... The soprano effectively conveyed the meaning of every phrase both with her excellent declamation of text, her facial gestures and vast range of vocal dynamics.“   - Barber and Mahler w/ Roanoke Symphony, THE ROANOKE TIMES, October 5, 2014

“Soprano Elizabeth Futral’s Miss Hedgehog was a wonderful example of vocal characterization; her lament over her spinsterhood was the comedic hit of the evening.“   - Fantastic Mr. Fox w/ Opera San Antonio, OPERA NEWS, September 23, 2014

“Elizabeth Futral, who memorably starred in HGO‘s world premiere of Andre Previn‘s ‘Brief Encounter‘, brings the requisite charm, glamor and awareness to Desiree. She scores a total triumph with her signature moment, delivering a wounded, rueful, exquisitely phrased rendition of ‘Send in the Clowns‘, as affectingly acted as it is sung.“   - "A little Night Music" with Houston Grand Opera, THE HOUSTON CHRONICLE, March 11, 2014

“... honored Elizabeth Futral with an award for excellence in the performing arts... she excelled in all of these arias, displaying vocal power and agility, as well as a refined and dramatic stage presence.“   - Gala at National Museum of Women in the Arts, THE WASHINGTON POST, December 12, 2013

“Elizabeth Futral is a passionate Zdenka, her voice intertwining sublimely with Wagner’s; she’s undaunted by the gender complexities of her role...“   - Strauss: Arabella w/ Minnesota Opera, STARTRIBUNE, November 11, 2013

“Soprano Elizabeth Futral was a delight as the former, bringing a bright, vibrant sound and vivacious calculation to her waltz...“   - La Bohème, Lyric Opera of Chicago, THE CHICAGO TRIBUNE, January 23, 2013

“In effect, to borrow Mae West’s old twist on Longfellow, when Ms. Futral was good, she was very good — but when she was bad, she was better.“   - New York Philharmonic Contact! Series, Steve Smith, THE NEW YORK TIMES, December 26, 2012

“Futral’s voice in the cantata “Jauchzet Gott in allen Landen” BWV 51 painted a full picture of her vocal artistry.“   - Washington Bach Consort, WASHINGTON LIFE MAGAZINE, November 26, 2012

“A striking presence with a forceful delivery.“   - Stephen Paulus‘ "To Be Certain of the Dawn", Grand Rapids Symphony, MLIVE.COM, November 17, 2012

"A vocally luminous, emotionally vulnerable and brilliant performance.... Ms. Futral inhabits this role and sings this demanding work with a mesmerizing combination of vocal elegance and expressive ferocity."   - "Emilie" review, Lincoln Center Festival, THE NEW YORK TIMES, July 20, 2012

Futral’s intelligently conceived, sympathique Émilie ranked with the best work I’ve seen from her — Lakmé and Semele at New York City Opera and the creations of Princess Yueyang in Tan Dun’s First Emperor at the Met and Stella in Previn’s Streetcar Named Desire at San Francisco Opera. Futral offered accomplished sung French and clean, agile tone only occasionally tested by heavily orchestrated passages conceived for Mattila’s heavier voice.    - "Émilie" review, Lincoln Center Festival, OPERA NEWS , July 19, 2012

"The performance found Elizabeth Futral's brightly penetrating tone contrasting nicely with the gracefully floated timbral beauty provided by Lisa Saffer. Futral rendered the score's most familiar melody, "Sweet Bird," with great allure and technical responsiveness to the aria's florid interplay with flute - and a perfectly calibrated, sustained trill."   - L‘Allegro, il Penseroso, ed il Moderato review, Music of the Baroque, OPERA NEWS, July 1, 2012

"Elizabeth Futral floated a spacious, freely expressive Sweet bird, the lilting aria a true partnership with Mary Stolper who provided wonderfully evocative avian flute solos. The soprano was also heard to fine account in an affecting Oft on a plat of rising ground and a lovely May at last my weary age."   - Il Penseroso ed il Moderato, Music of the Baroque, THE CHICAGO CLASSICAL REVIEW, March 27, 2012

"The taut ensemble features Elizabeth Futral in particularly impressive form as Fiordiligi...she gives the phrases an affecting tenderness that gets to the the humanity behind Mozart's comedy."   - Cosi fan tutte review, The Washington National Opera, THE BALTIMORE SUN, February 27, 2012

"The soprano Elizabeth Futral was riveting as émilie, singing with tenderness, passion and terror."   - Sariaaho “Émilie” Suite, Zankel Hall, THE NEW YORK TIMES, December 4, 2011

The work's lone role, written for Ms. Saariaho's Finnish compatriot Karita Mattila, is a tour de force for soprano, some 75 minutes of almost continuous vocalization: speech, elevated speech and soaring melodic arcs, some with electronic voice processing to produce ghostly duets. Ms. Futral negotiated it all beautifully and, it seemed, tirelessly.   - Sariaaho "Émilie" U.S. premiere, Spoleto Festival USA, THE NEW YORK TIMES, June 5, 2011

"Futral floats his songs on a voice that sounds tender and radiant and intimate, scaled to the space she's singing in."   - Ricky Ian Gordon “Orpheus and Euridice,” Urban Arias, THE WASHINGTON POST, April 1, 2011

"Futral, singing all four roles for the first time in her career, succeeded triumphantly. Wearing a 50-pound robot costume, she brought pin-point accuracy to Olympia's ridiculously difficult, mechanical coloratura parody. The soprano also showed a natural sense of humor as she robotically ran away from Hoffmann, bumping into things along the way."   - The Tales of Hoffmann, The Florida Grand Opera, SOUTH FLORIDA CLASSICAL REVIEW, January 23, 2011

"Thomas' Ophelie is, like Hamlet, a virtuous, pure soul, and Elizabeth Futral plays her to perfection. Her crystal clear soprano voice is impressive in the first few duets with Hamlet and his mother, but Futral's supreme achievement is Ophelie's mad scene just before she drowns. Wearing a long gray and white gown, moving near the river, Futral exhibits grief, petulance and childishness, then launches into a stunning coloratura performance of Thomas' musical fireworks."   - Hamlet, Washington National Opera, THE WASHINGTON EXAMINER, May 23, 2010