“And while Elizabeth de Trejo has had several critically acclaimed starring roles at Opera Tampa and other venues around the country in recent years, this was to be her first Norma. Brava! Norma's first major aria — an invocation to the goddess of the moon — was a moment of great delicacy.” As the music unfolded, new dimensions of de Trejo's voice kept revealing themselves until, at the climax on a final high G, it came into full bloom. Throughout the opera, as Norma moves through moods of patience, betrayal, anguish and resolve, there were many such moments that could make a listener swoon. “
- Tampa Bay Times, Jim Harper

"De Trejo, also debuting in her role, looked ideal as a chaste girl. She brought an unforced, almost conversational style of singing to Marguerite's complex three-part aria in the garden scene that was the highlight of the evening. Her voice fit beautifully into the layered textures of Gounod's orchestration."
- St. Petersburg Times, John Fleming

“As the ill-fated Gilda, soprano Elizabeth De Trejo,(Rachel Watkins), has it all - a shimmering coloratura of great of great agility and intriguing color as well as superb acting ability. De Trejo, another newcomer to the local stage, was a standout in every way, yet her performance was balanced and thoroughly integrated.”
-The Toledo Blade, Sally Volongo

“It was easy to see why Nemorino and Belcore were smitten with Rachel Watkins's, (Elizabeth De Trejo), Adina. A sprite of a young lady, Watkins sparkled as much as Donizetti's music, offering a lovable characterization with a warmly glowing voice to match.”
-Opera News Online, Charles H. Parsons

“Opera careers are unpredictable, but I think that some years from now, there will be a good chance that people who attended Opera Tampa's staging of Lucia di Lammermoor this weekend are going to be able to brag that they were there when Elizabeth de Trejo made her debut in the title role. De Trejo (the married name of the soprano formerly known as Rachel Watkins) was excellent as the prima donna in previous productions here of Gounod's Romeo et Juliette and Faust. But she seems to have grown in dramatic presence in performing the flamboyant coloratura passagework of the woman who kills her husband on their wedding night. Lucia contains a number of scenes topped off by the soaring high notes that opera fans thrill to. On Friday, de Trejo delivered with accuracy and flair the high D in Lucia's Act 2 duet with her brother Enrico (baritone Michael Corvino) and the high E flat in her mad scene.”
-St. Petersburg Times, John Fleming

“Elizabeth de Trejo, but they are singers to be reckoned with, especially de Trejo, whose performance of the ¨Laudate” from Mozart’s Vesperai solennes de confessore was a highlight of the first act. In fact, that piece was such a tour de force that the audience, who had been correctly silent between movements, burst into spontaneous applause; they simply couldn’t stop themselves.”
-Glen Roven, HuffPost

“Guest artist Elizabeth de Trejo showed off her spectacular range and control during “In quali eccessi … Mi tradì quell’alma ingrata,” an aria that wasn’t performed in the Prague premiere of “Giovanni.” The difficult coloratura piece was composed for the opera’s Vienna premiere to showcase the skill and tact of the soprano performing Donna Elvira at the time. The piece flaunted Trejo’s experience and impressive timbre, as it was written to do, and was one of the show’s high points."
-Caren Levine

“Emotions were in play, and the Requiem has seldom sounded so operatic. Soon, we were hanging on every word and note. Soprano Elizabeth de Trejo's silvery tone and well-projected high notes allowed her to sail over the massed chorus and orchestra forces in the concerted moments. In her solo and duet passages, she sang with intensity or reassuring calm as the texts suggest. One had the feeling of a Mozartean soprano singing this music; it worked for Elisabeth Schwarzkopf and Pilar Lorengar, and Ms. de Trejo's personal commitment to the score made it work for her tonight. She is a very individual singer, of unique timbre.” (Verdi Requiem, Oratorio Society of NY, Carnegie Hall)
-Oberon’s Grove

“De Trejo had her fair share of gorgeous moments throughout the evening, particularly during “Quid sum miser” and throughout “Salva me;” in the latter passage, her voice soared over the massive ensemble. She dovetailed nicely with mezzo-soprano Raehann Bryce-Davis throughout the “Recordare” and their voices were in perfect synchronization throughout the “Agnus Dei.” All night long, she moved up and down her register with ease, her upper notes projecting potently over the orchestra. However, “Libera Me” is the soprano’s big moment to shine and De Trejo was sublime throughout. From the opening line, there was desperation in her singing. Even if her bottom didn’t quite have tremendous heft, she made up for it with clear diction and intensity. There was increasing fear in her face throughout this passage, her singing growing more potent. She hit one high note after another, blasting through the tremolos that follow the “Dies Irae” and eventually climaxing it all with a glorious and cathartic high C rocketing over a full orchestra and chorus. But the most glorious moment of singing came during the reprisal of the first “Requiem” theme. Here De Trejo delivered a pure and delicate legato line that was exquisite in every way. Verdi asks for increasingly softer dynamics, getting to a pppp at one point near the end of the passage. De Trejo’s voice retained its gentleness throughout, her final high B flat floating effortlessly into the hall.”
-Opera Wire, David Salazar