Elizabeth Thompson | Music | SIU

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Elizabeth Thompson

Lecturer

Elizabeth Thompson

Altgeld 103

elizabeth.thompson@siu.edu

618-536-8742

Elizabeth Thompson, DMA, began her singing career as a mezzo-soprano but in more recent years has been noted for her warm and ringing soprano voice. Based in the Midwest, Dr. Thompson is an active performer with repertoire spanning the operatic stage, concert halls, and recital venues, recently making her role debut as Bizet's Carmen with the Muddy River Opera Company. In 2016 and 2017, she also appeared with the Midwest Chamber Ensemble in Kansas City, Missouri.

An art song literature enthusiast, Dr. Thompson has performed numerous recital and chamber works such as Poulenc's Tel jour, telle nuit; Grieg's Haugtussa; Bolcom's Let evening come for soprano, viola, and piano; Berg's Sieben frühe Lieder; Schubert's Der Hirt auf dem Felsen for voice, clarinet, and piano; Larsen's Try me, good king; Laitman's I never saw another butterfly for voice and alto saxophone; Debussy's Proses Lyriques; Rachmaninoff's Opus 38; and Barber's scena for soprano and chamber orchestra, Andromache's Farewell.

A passionate teacher, Dr. Thompson holds degrees from Houghton College, East Carolina University, and the University of Illinois, Urbana-Champaign. Her primary teachers have included pedagogue Kelley Hijleh, baritone John Kramar, soprano Yvonne Gonzales Redman, as well as the internationally recognized artists Julie Jordan Gunn and Nathan Gunn. Repertoire highlights on the operatic stage have included Suor Angelica (title role), Florencia en El Amazonas (Rosalba), Le Nozze di Figaro (Countess), Carmen (title role), Maria Stuarda (title role), A Midsummer Night’s Dream (Helena), Die Zauberflöte (Zweite Dame), and The Consul (Magda). She has received awards through competitions such as the Orpheus National Vocal Competition and the Metropolitan Opera National Council Auditions.

An avid performer of 20th and 21st century music, Dr. Thompson’s scholarly research juxtaposes this repertoire with her passion for the historical dramas of the Italian bel canto, most notably Donizetti's Maria Stuarda. In the applied voice studio, Dr. Thompson emphasizes vocal technique based on principles of this bel canto approach (posture, breath, and vowel formation), which supports the health, ease, and longevity of the voice while providing a technical foundation for effective and articulate dramatic communication, no matter the vocal style.