© Frances Marshall



Specialising in the Italian repertoire, Elizabeth’s roles have centred around the operas of Puccini and Verdi.  Known for her vivid portrayals of Puccini heroines and for her full, distinctive voice, Elizabeth has risen through the ranks since making her debut as Mimi La bohème, for which The Telegraph named her “Best newcomer in opera in 2010”. In the 2019/20 season Elizabeth made her role debuts as Aida for Theater Bielefeld and as the title role Luisa Miller for English National Opera, as well as making her Metropolitan Opera debut as Bess Porgy and Bess

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Artist Manager

Camilla Wehmeyer



Evangeline Parker




Scottish Opera confirm programme of outdoor events


Elizabeth Llewellyn makes her company debut with Scottish Opera, singing Mimì in an upcoming socially distanced performance of Puccini's La Bohème in Glasgow this September. Scottish Opera announced their full programme of outdoor events in response to the COVID-19 crisis, following guidance from the Scottish Government.

A new production directed by Scottish Opera's staff director Roxana Haines, the cast will also include Rhian Lois as Musetta, Samuel Sakker as Rodolfo, and Roland Wood as Marcello. Company Music Director Stuart Stratford conducts a small ensemble selected from the Orchestra of Scottish Opera in a reduced version created by composer Jonathan Dove.

Performances will run from 5 - 13 September, and will take place in the carpark of Scottish Opera's Edington Street Production Studios in Glasgow.

Click here to explore the full outdoor programme.

© Peter Dazeley




Repertoire Includes


Carmen (Mïcaela)

Mefistofele (Margherita/Elena)

Turn of the Screw (Governess)

The Rape of Lucretia (Female Chorus)
Peter Grimes (Ellen Orford)*

Rusalka (Rusalka)*

Porgy & Bess (Bess)

Rodelinda (Rodelinda)*

Alcina (Alcina)*

The Merry Widow (Hanna Glawari)

La Clemenza di Tito (Vitellia)*

Idomeneo (Elettra)

Così fan Tutte (Fiordiligi)

Le Nozze di Figaro (Contessa)

Don Giovanni (Donna Elvira/Donna Anna)*

Die Zauberflöte (First Lady)

La Bohème (Mimì)       

Tosca (Tosca)    

Suor Angelica (Suor Angelica)

Il Tabarro (Giorgetta)

La Rondine (Magda de Civry)

Madama Butterfly (Madama Butterfly)

Manon Lescaut (Manon Lescaut)

A Streetcar Named Desire (Blanche DuBois)*

Der Rosenkavalier (Marschallin)*

Elektra (Chrysothemis)

Capriccio (Countess Madeleine)

Arabella (Arabella)*

Eugene Onegin (Tatiana)

Simon Boccanegra (Amelia)

Aida (Aida)

Don Carlo (Elisabetta)*

Luisa Miller (Luisa Miller)

Il Trovatore (Leonora)*

Un Ballo in Maschera (Amelia)

Otello (Desdemona)*

Falstaff (Alice Ford)

Lohengrin (Elsa)  

Die Meistersinger (Eva)*

Tannhaüser (Elisabeth)

Der Freischütz (Agathe)*

* in preparation


Mass in C

Missa Solemnis

Symphony No. 9


War Requiem

Our Hunting Fathers

The Spirit of England



Symphony No. 8 (2nd Soprano)

Das Klagende Lied

Rückert Lieder




R. STRAUSS                         
Vier Letzte Lieder

Stabat Mater

A Child of Our Time

Serenade to Music

A Sea Symphony


A Song for The Lord Mayor’s Table


Selected Discography

Vaughan Williams: A Sea Symphony
BBC Symphony Orchestra, conducted by Martyn Brabbins.

Hyperion 2018
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Verdi LUISA MILLER / English National Opera


“Llewellyn has been absent from the Coliseum for too long, but she returned in triumph, singing throughout with a full-throated ease that amply filled the auditorium and portraying the character with a vivid naïvety that even the production’s vacuity couldn’t blur.”

Rupert Christiansen, The Telegraph (February 2020)


“…in Elizabeth Llewellyn we get a gorgeously-sung Luisa.”

Michael Church, The Independent (February 2020)


“With her compellingly focused voice, Elizabeth Llewellyn is superb in the title role.”

Hugh Canning, The Times (February 2020)


“Elizabeth Llewellyn’s Luisa, richly and subtly voiced, still manages to exude passion and sincerity.”

Yehuda Shapiro, The Stage (February 2020)


“If Elizabeth Llewellyn has done anything better than this Luisa, then I regret not being there. Llewellyn’s singing had secure coloratura, fearless top notes, as well as much vocal elan and her acting had both energy and passion. However well she started, she finished even more strongly with a heart-wrenching Act III ‘La tomba e un letto’ and the poignancy of her closing duets with Miller and Rodolfo.”

Jim Pritchard, Seen & Heard International (February 2020)


“Above all this, Elizabeth Llewellyn’s silvery, supple soprano brings out all Luisa’s goodness and pain, …it soars where it counts.”

Erica Jeal, The Guardian (February 2020)

Verdi AIDA / Theater Bielefeld


“Elizabeth Llewellyn, daughter of Jamaican parents, gave an Aida of enormous dramatic urgency….The highly dramatic British soprano effortlessly outshines the concentrated sound of the choir and orchestra, and has a poignant vocabulary of lamentation – an ideal piece of casting for this Bielefeld staging.”

Johannes Vetter, Neue Westfalische (December 2019)


“…the great Elizabeth Llewellyn, who has just hurried from her New York debut at the Met to Germany succeeds as an Aida bringing her innermost feelings out. Her soprano has tremendous power and size, but she also masters the delicate, heart-breaking singing.”

Uta Jostwerner, Westfallen Blatt (December 2019)

“Elizabeth Llewellyn chose Theater Bielefeld for her role debut as Aida… and she has given a gift to the theatre! For her interpretation of this role was highly expressive, touching, and vocally of the very highest quality. She was at the centre of this production at all times, even when she had nothing to sing. Her gestures, her body language, were always like a mirror of her interpretation of Aida. Her solo scenes were sung in a grand and penetrating manner, outstanding in the ensembles. The way she used vocal means to express the feelings of the Aida was an experience. A really great debut as Aida, for which she was celebrated by the opening night audience with ovations. BRAVO!”

Detlef Obens, Das Opernmagazin (December 2019)

Puccini MANON LESCAUT / Opera Holland Park

“she relaxed and released a wonderfully expressive and dramatic flood of glorious colour, the wait was proven more than worthwhile. In fact, the slight frailty at the start was not inapt, capturing as it did some of the innocence of the young Manon […] and the blossoming of Llewellyn’s soprano in the final two Acts communicated the maturity and growth borne of Manon’s experiences. Llewellyn exploited the full range of her soprano, including a rich chest voice, encompassing a vast emotional spectrum and sensitively capturing Manon’s femininity. As Manon finds herself at the limits of her resilience, so Llewellyn pushed her soprano to its limits, though never sacrificing her creamily smooth legato, with compelling power and effect. As her voice recovers fully, Llewellyn’s performance will be a persuasive reason to see this production.”

Claire Seymour, Opera Today (June 2019)


“Elizabeth Llewellyn has an exciting voice for Puccini, silvery and vital. […] The final act brought more power, and a tantalising glimpse of what this fine singer might offer later in the run.”

Erica Jeal, The Guardian (June 2019)


“Llewellyn […] gives full rein to her powerful soprano that never loses the crucial fragility it requires to illustrate Manon’s disastrous decision making.”

Gary Naylor, Broadway World, (June 2019)

“Star quality comes at last with the elegant and slightly sphinx-like presence of Llewellyn’s Manon”
David Nice, The Arts Desk (June 2019)



   © Camilla Wehmeyer Management Limited