"Mezzo-soprano Elizabeth Batton sang an impassioned Nicklausse/Muse." (Truman C. Wang; Classical Voice Review)
"Elizabeth Batton is tremendous as the Muse and Nicklausse. She's always there for Hoffmann, cares for him, and picks him up every time he gets knocked down." (Paul Bernenson; Web Classics Plus)
"As the muse who transforms herself into Hoffmann's friend Nicklausse, Elizabeth Batton acquitted herself admirably. Her arias drew the audiences in with a variety of emotions and her humorous moments were equally well-received." (Rick Mortensen; LA Daily News)
"Elizabeth Baton gives a consistently strong performance as Hoffmann's loyal muse, Nicklausse, sick at heart that she cannot save the poet from himself." (Jim Farber; Daily Breeze)
"The Muse (a pleasing Elizabeth Batton) seems to be suggesting that misfortune rather than love requited makes for artistic inspiration." (Bondo Wyszpolski; Easy Week)
"Elizabeth Batton sang the trouser role of Nicklausse with aplomb and played the good-natured side-kick with the utmost naturalness." (Donna Perlmutter; The Hollywood Reporter)
"Elizabeth Batton showed herself to be an eminently intelligent and fluent singer as Nicklausse and the Muse." (Timothy Mangan; Orange County Register)
"Elizabeth Batton puts trousers on the muse to be Nicklausse, a buddy figure, but sings in every act with remarkable clarity and consistency." (Laura Hitchcock; Curtain Up)
"Mezzo-soprano Elizabeth Batton brought a light but vibrant voice to the dual part of the Muse and Nicklausse, and she made Nicklausse's humor complement the Muse's dignity." (Steven Brown; Orlando Sentinel)
"As the muse/Nicklausse, Batton sang with a clear, athletic voice, rendering emotions from disgust to sympathy." (Sherli Leonard; Special to the Press Enterprise)
Mezzo-sopranos Elizabeth Batton in the role of Olga, Dorothy Byrne, singing the role of Madame Larina, Tatyana’s mother, and Josepha Gayer, singing the role of the nurse-maid Filipyevna, each delivered impressive performances that matched the dreamy mood of this atmospheric tale. (Paul Joseph Walkowski; OperaOnline.US)
"Kanyova and mezzo Elizabeth Batton, as her sister Olga, looked and sounded radiant as innocent young country girls". (T.J. Medrek; Boston Herald)
"As Olga, Lensky's beloved, Elizabeth Batton employs a rich, buttery mezzo for her paean to a carefree girlhood: "Life will be kind to me," she exults, preening like a cat and refuting the Russian penchant for doom and gloom." (Sandy MacDonald; The Edge)
"Elizabeth Batton was a convincing, rich-voiced Olga, and the rest of the cast was highly capable." (Ed Tapper; Bay Windows, Boston)
"Mezzo Elizabeth Batton made a charming minx out of the heroine's sister Olga"
(Richard Dyer; The Boston Globe)
"Elizabeth Batton's vibrant mezzo and volatile personality worked well for Olga." (William Fregosi; Opera Today)
"Rich-voiced mezzo-soprano Elizabeth Batton was quite effective as the fickle Olga, successfully vacillating between the faithful fiancéée and intrigued flirt." (Jim Lowe; The Times Argus)
" Elizabeth Batton sings the shallow Olga with a blush in her voice." (Timothy Mangan; Orange County Sentinel)
"As Tatiana's flighty, light-headed sister Olga, mezzo-soprano Elizabeth Batton gave highly spirited singing with a sensuous touch (I, for one, would love to hear her Carmen)." (Truman C Wang; Classical Voice)
"Mezzo-soprano Elizabeth Batton (Olga) was vocally solid and appropriately frivolous." (Donald Westwood; Opera News Online)
"Elizabeth Batton made an appealing Olga and Marion Pratnicki an endearing, sonorous Filipyevna" (Donald Rosenberg; Plain Dealer)
"As Tatyana’s sister, Elizabeth Batton injects some seductive low tones to their duets, and Marion Pratnicki is comfily commodious as their nanny." (James Damico; Free Times Cleveland)
"Elizabeth Batton was a convincing, rich-voiced Olga, and the rest of the cast was highly capable." (Ed Tapper; Bay Windows, Boston)
“The warm chest tones of Elizabeth Batton, another BLO debutant, gave her Olga earthiness, pluck and charm.” (Wayman Chin, Opera News)
Kanyova and mezzo Elizabeth Batton, as her sister Olga, looked and sounded radiant as innocent young country girls. (Opera Today)
Elizabeth Batton’s vibrant mezzo and volatile personality worked well for Olga. (William Fregosi; Boston Herald)
"Elizabeth Batton's Hermia had depth of tone and a fine enamel finish." (Scott Cantrell; Opera News Online)
"Gifted with a splendidly full mezzo, Elizabeth Batton could have graced any international stage with her trenchantly amusing Hermia." (David Shengold; Opera News Online)
Winner of Best Performance by a Supporting Female Singer, 2004:
"All women sang well and evenly and gave standing performances. However, there can only be one and the One we select is Elizabeth Batton for her consistently good performance in "Midsummer Night's Dream". Batton, was sulky, moody, petulant, seductive and she could belt out a tune" (Opera Online - 
Summer, 2004)
"Both soprano Elizabeth Batton, who sang the role of Hermia, and Inna Dukach who sang the role of Helena, gave stand out vocal performances as rivals whose paths and fortunes crossed when Puck sprinkled a little too much powder around. Their stage rivalry, including stripping down to short, sexy silk nighties, was done with humor and expressiveness, and was pleasing to the eye as well. Each of these women was self-confident, strong in their roles and convincing as actors." (Paul Jospeh Waslkowski; OperaOnline)
"The other outstanding voice of the evening was that of Elizabeth Batton, as Hermia. Hers is a true dramatic mezzo, varied in color, and often dominating the ensembles." (Patrick C. Byrne)
"Todd Wilander, Sari Gruber, Elizabeth Batton and Troy Cook are at the top of their game. They're svelte and good-looking, too." (Paul Horsley; The Kansas City Star)
"The large supporting cast was a continual source of riches: Sari Gruber as a demure Helena, Elizabeth Batton as a sparkling Hermia, Troy Cook as an elegantly blustering Demetrius and Todd Wilander as a remarkably tender Lysander." (Paul Horsley; The Kansas City Star)
"The serious singing in this cast goes to the quartet of lovers, who could hardly have been more fittingly cast. Vocally opulent, they romped through Curran's rather minimal sets with athleticism and a spirit of fun..Elizabeth Batton's near-contralto tones gave sensuality to Hermia." (Robert Croan; Opera News Online)
"The four lovers were all fine young singers. Eric Cutler as Lysander, Elizabeth Batton as Hermia, Paul Whelan as Demetrius and Madeline Bender as Helena were well matched in vocal quality and strength, and adept at the physical demands director Curran made." (Mark Kanny; Pittsburgh Tribune)
"The quartet of lovers was as rich in voice as it was in humor. Elizabeth Batton's Hermia was fiesty and fun, with her rich and effectively used mezzo-soprano." (Jim Lowe; Times Argus Staff )
"Also notable were Cynthia Clayton as Essex's destructively outspoken sister and mezzo Elizabeth Batton as his wife, whose final bow to the queen after the death warrant has been signed (a bow not in the opera's stage-directions) combined with loyalty to a queen and accusation toward a vengeful woman. It was a moment in an altogether strong show." (Leighton Kerner; Opera News)
"Elizabeth Batton give a sense of dignity to Lady Essex, and her thrilling, dark, mezzo-soprano voice is a production highlight." (Mark Arnest; The Gazette)
"Elizabeth Batton excels as Essex's long-suffering wife, Lady Essex." (Brad Weismann; Colorado Daily)
"Supporting roles are also sung and played with perfection. Elizabeth Batton and Cynthia Clayton are full in command of Lady Essex and Lady Rich." (Wes Blomster; The Daily Camera)
"Grant Youngblood , Cynthia Clayton and Elizabeth Baton make a fine trio of power-hungry subjects and vacillating revolutionaries; when joined by Wilson, the group's scheming to seize the throne rings true while providing plenty of intrigue." (WestWord; Aug. 28th, 2001)
"The "other" Women's roles were expertly delivered by Cynthia Clayton , Elizabeth Batton and Coutenay Budd." (Marc Shulgold; Rocky Mountain News)
"Mezzo Elizabeth Batton is also very strong as the deranged Mrs. Rochester, striking just the right balance between madness and tragic self-awareness." (Chuck Lavazzi; KDHK Theatre Review)
"Mezzo Elizabeth Batton admirably captured her confused obsession and "dark as molasses" voice." (Scott Cantrell; Dallas Morning News)
"The supporting cast is also solid. Elizabeth Batton is a delightful ball of fire in her OTSL debut as the Mrs. Rochester, the nexus for all the tension within the house. Batton's well timed crazed insanity is balanced by a great performance from Scott Hendricks as Mr. Rochester." (Rob Levy; Nighttimes.com)
" Elizabeth Batton played the gender-bending role of the randy young Cherubino with great panache." (Laura Stewart; The Daytona Beach News Journal)
"Playing the page Cherubino was Elizabeth Batton. Her singing was superb and her warm, smarmy low notes and a delicious middle register lead her to brilliance in "Voi che sapete" in Act II." (John Sayers; Ft. Pierce Tribune)
"Elizabeth Batton had the boyish look for Cherubino, the adolescent male played by a mezzo-soprano, and the vigor of her singing certainly captured Cherubino's hormonally driven excitement." (Steven Brown; Orlando Sentinel)
In their supporting roles, Sparafucile, the assassin, and his co-conspirator sister Maddalena were well sung by Gustav Andreassen (another first IO appearance) and Elizabeth Batton (who sang Charlotte in IO’s 2003 production of Werther) respectively. (Tom Aldridge; NUVO News)
"The Mass went better, partly because it is a better piece, but also as a result of strong work from the Concert Chorale of New York and the soloists. They made the point about Bruckner's complexity in their different attributes: the soprano Meagan Miller's adamant flame, the mezzo-soprano Elizabeth Batton's alluring and comforting warmth, the tenor." (Paul Griffiths; New York Times)
"A gracious Dido, mezzo-soprano Elizabeth Batton sang the part with strong composure in voice and character. Her powerful singing and proud presence gave life to the staunch female leader, whose furrowed brow showed concern for her people, and whose scarlet chiffon gown revealed femininity and desire." (Celeste Sutherland; The Arts Cure)
Metropolitan Opera National Counsel Awards
"Elizabeth Batton, 25, a mezzo soprano, sang arias by Saint-Saën and Tchaikovsky with full rich sound and sensibility." (Antohony Tomassini; New York Times)
Antony and Cleopatra (Iras); Carnagie Hall; American Composers Orchestra
".Elizabeth Batton brought humor and pathos to Iras." (Leighton Kerner; Opera News Online)
"Other standouts include Keith Phares as Harlequin and Elizabeth Batton as a sonorous Dryad." (Scott Cantrell; The Dallas Morning News)
The Eternal Road (Ruth); American Symphony Orchestra
"Ruth (meltingly sung and acted by Elizabeth Batton) devoted herself to Naomi in a superbly extended sequence of Weill's vintage brand of beat-enforced blues." (Leighton Kerner; The Village Voice)
"Elizabeth Batton was a lyrical Ruth, possessing a rich coloratura able to project over the orchestra despite often singing from their midst." (Frederick L. Kirshnit; Le Concertographe)
"Arthur Woodley was an impressive Saul, and Elizabeth Batton a heart-melting Ruth." (William Weaver; Financial Times)
"Elizabeth Batton as Ruth was affecting and strong." (Anthony Tomassini; New York Times)
