Elizabeth Hart, soprano, is a recitalist, chamber musician, cabaret artist, teacher and author based in Baltimore. She directs the voice program and the Voice Master Class Series at Loyola University Maryland and has a private voice studio that caters to both classical and crossover singers.

Elizabeth Hart’s performance interests range from concert and chamber music to serious song to cabaret. She has sung extensively in the Mid-Atlantic region with groups such as such as Pro Musica Rara of Baltimore, the Bach Ensemble of Baltimore and the Music at Gretna Chamber Players. Recent classical programs have included a series of lecture recitals Music and Lives of Erich W. Korngold and Kurt Weill , which deals with how the two men escaped persecution in 1930s Europe, came to the United States and helped reinvent popular American culture on Broadway and in the movies. Elizabeth Hart’s cabaret appearances include a duo show Home, Apple Pie and . . .Dad? with soprano Carolyn Black-Sotir and pianist Marc Irwin, trio cabarets Todo Argentina: Argentine folk music and tango, with pianist Nancy Roldán and violinist José Miguel Cueto and French Kisses: Americans and Jazz In Paris with pianist Marc Irwin and bassoonist Phil Kolker. Concert appearances include the American Art Museum’s Steinway Series at the Smithsonian, the Sylvia Adalman Recital Series, the Community Concert Series at Second Presbyterian Church, the Music at Loyola Concert Series, the American Liszt Society National Convention in Washington, DC and both Boston’s Jordan Hall and Baltimore’s Shriver Hall, where in 2003, she was soprano soloist (Bachianas Brasileiras No. 5) for Gregor Piatigorsky’s 100th birthday celebration, Leon Fleisher conducting.

For fifteen years Elizabeth Hart was a faculty member of the Peabody Preparatory where she served as co-chair of the voice department, adjunct in the Conservatory and lecturer for the Elderhostel (now Road Scholar) program. Publications include a book, Anthology for Beginning American Singers, co-authored with her long-time colleague Helen Strine, and an article for Classical Singer magazine, “The Real Thing” (November, 2000).

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