Suor Angelica
National Opera Canberra, Albert Hall, March 2024
Image by Peter Hislop
National Opera Canberra’s 2025 Season Announcement
March 2025
Limelight’s article on The Song Company’s 2025 Emerging Artists announcement
February 2025
CAPO’s 2024 Grant Winners Announcement
Grainger Gallery, November 2024
Canberra CityNews’ review of Luminescence Chamber Singers’ Magnificat
“From Francesco Cavalli’s collection of sacred works, Musiche Sacre, from 1656, the singers and instrumentalists performed his Lauda Jerusalem. Their voices brought out all the sensitivity in this work, filling the church with glorious sound.
“After an interval, the Children’s Choir joined the singers and Apeiron Baroque for a performance of Nicola Porpora’s Magnificat, written in 1745. [They] with accuracy and warmth, making this another highlight of the concert.”
Wesley Uniting Church, August 2024
Canberra CityNews’ review of The Llewellyn Choir’s For M Is Musick
“…soprano soloist Elsa Huber got the lioness’s share as she sang with perfect articulation the famous words of eccentric 18th century academic Christopher Smart dedicated to his cat, “Jeoffrey”…The choir then launched into Leonard Bernstein’s Missa Brevis, with Huber easily gliding in and out vocally.”
Wesley Uniting Church, April 2024
Canberra CityNews’ review of National Opera Canberra’s Suor Angelica
“Intimately staged…on the floor of the Albert Hall, the strength of this production is the fine singing and performances from the cast…There is beautiful singing by the nuns, many of whom bring individual character touches to their roles. The finale…brings the opera to an uplifting climax.”
Canberra Critics Circle’s review
“Judging by this production, Canberra appears rich in fine female opera singers because the singing throughout was superb…Katrina Wiseman, Teresa Wojcik, Alira Prideaux, Kirsten Anker and Elsa Huber were standouts among the strong cast, all of whom provided strong support, particularly during the many choral sections of the opera.”
Albert Hall, March 2024
Canberra CityNews’ review of Canberra Symphony Orchestra’s St John Passion
“From the electrifying singing of the chorus of the opening of Bach’s “St John Passion”, it quickly became apparent that this performance was going to be something special…the chorus singing, directed by Cole, was strong and accurate, bringing out the full colour and meaning of Bach’s dramatic music.”
Llewellyn Hall, June 2023
Canberra CityNews’ review of National Opera Canberra’s Elixir of Love Pocket Opera
“Recent ANU School of Music graduate Elsa Huber, as Adina’s friend Gianetta, offered a spirited, eye-catching interpretation of the role, which stamped her as a singer to watch.”
Albert Hall, May 2023
Canberra CityNews’ review of Canberra Bach Ensemble’s Die Stimmen erheben, um Hülfe zu bitten!
“The choir returned for three works by German baroque composers other than Bach, two by Heinrich Schultz and one by Andreas Hammerschmidt, which was the highlight of the concert.”
St Christopher’s Cathedral, April 2023
Canberra CityNews’ review of Luminescence Chamber Singers’ Christmas Classics
Wesley Uniting Church, December 2022
Canberra CityNews’ review of Cole’s Opera Salon’s Dido & Aeneas
“The singers…did a fine job of presenting this opera. Especially notable were Emmeline Booth as Dido and [Lily Ward and Elsa Huber] who played her attendants…with a sparkling duet from those two a highlight…The ensemble singing was well balanced and enthusiastic with the sense that everyone seemed to be enjoying themselves…it was a most enjoyable and diverting way to spend an hour on a Saturday afternoon.”
Helen Musa’s Canberra CityNews article on Cole’s Opera Salon’s Dido & Aeneas
Smith’s Alternative, November 2022
Canberra CityNews’ review of the CSO’s Messiah
“The sopranos and altos in particular acquitted themselves with polished and refined singing.”
Llewellyn Hall, July 2022
Canberra CityNews’ review of the CIMF’s Choral Opposites
“This concert was remarkable for the number, range and challenge of the works presented and the fine singing by everyone involved.”
The Fitters’ Workshop, May 2022
Canberra CityNews’ review of National Opera’s Die Zauberflöte Pocket Opera
“COVID had yet again intervened and was the cause of notable absences…one was the director, Peter Coleman-Wright and the other was one of the Spirits. But the former can rest assured that the performance went very well, even in his absence. The second absentee can rest easy in the knowledge that the show did not, in fact, want for spirit.”
Albert Hall, June 2021
Canberra CityNews’ review of National Opera’s La Clemenza di Tito
“When the chorus first enters with their visually stunning and chic black costumes…they not only looked but sounded impressive…the beauty of their combined voices showed how well trained they were by Cole as chorus master.”
Australian Book Review’s review
Llewellyn Hall, April 2021
Elsa Huber
Singer, Educator, and Arts Administrator
I acknowledge and celebrate the Ngunnawal and Ngambri people, the traditional custodians of the land on which I sing and work.
I recognise that modern Australia was built on the dispossession of First Nations peoples and that sovereignty was never ceded, and I acknowledge the ongoing struggles of First Nations peoples in dismantling the pervasive legacies of colonialism.
I pay my respect to elders past, present, and emerging.
Elsa Huber 