Eliza Bagg

BIOGRAPHY

Eliza Bagg is a Los Angeles based experimental musician, performing in boundary-pushing projects along with composing and producing her own work. She is known for her “ethereal” aesthetic (New York Times), “luminous sound” (New York Times) and “gossamer” singing (New Yorker), along with a unique sound and improvisational practice. Bagg has performed as a soloist around the globe, with a wide-ranging career that includes chamber music at the Concertgebouw, motets by John Zorn at Elbphilharmonie Hamburg, and Meredith Monk’s opera Atlas with the LA Philharmonic. She has premiered many new works, including those by Ellen Reid with the New York Philharmonic, Ted Hearne at Carnegie Hall, and Chaya Czernowin at Walt Disney Concert Hall. She is a long-time member of GRAMMY-winning vocal ensemble Roomful of Teeth, touring globally and recording with the group. 

A renowned collaborator, Bagg frequently develops new work with composers, often bringing her own improvisation, vocal processing system, and compositional skills to the table. She has performed many roles in new operas such as Ted Hearne’s The Source at Festival Musica Strasbourg (2024), Hearne’s over and over vorbei nicht vorbei at the Komische Oper Berlin (2024) and Deutschen Nationaltheater Weimar (2025), Dylan Mattingly’s Stranger Love with the Los Angeles Philharmonic (2023), Du Yun’s Angel’s Bone at Re:naissance Opera (2022), Michael Gordon’s Acquanetta at the Prototype Festival (2018) and Bard Summerscape (2019), Yaz Lancaster’s Paper Tiger with Opera Philadelphia (2023), Ash Fure’s Hive Rise with The Industry (2021), and Wayne Shorter and esperanza spalding’s Iphigenia at Cal Performances (2022). 

Bagg is a frequent guest soloist with the Los Angeles Philharmonic, and has sung as a soloist with the New York Philharmonic, Chicago Symphony, Boston Symphony, Orchestra of St. Luke’s, San Francisco Symphony, and North Carolina Symphony. In 2026 she will solo with the St. Paul Chamber Orchestra. She has collaborated closely with musicians and ensembles such as Nico Muhly, Pekka Kuusisto, Attacca String Quartet, Bang on a Can All-Stars, Lorelei Ensemble, Nadia Sirota, Sofia Jernberg, Wild Up, and A Far Cry, among many others. She has worked with experimental arts organizations from Media Art Xploration (MAX) to BalletCollective, performed at major classical venues from Tanglewood to Carnegie Hall, and brought experimental work across the globe from Adelaide to Bratislava.

Bagg’s compositional work integrates mainstream, contemporary pop aesthetics with classical languages, historical forms, and an avant-garde sensibility, often using pop production and electronic processing to explore the “valley between authenticity and artifice” (The Guardian). Dubbed an “electro-pop alien” by NPR, Bagg tours globally under the artist name Lisel and has released three solo albums, including the "chrome-tinted harmonies...[and] intricate latticeworks" (Bandcamp Daily) of her critically acclaimed piece Patterns For Auto-Tuned Voices And Delay. She has also released a collaborative album, Mycelial Echo, with experimental percussionist Booker Stardrum. 

In 2025, she received a Creative Research Grant from the Foundation for Contemporary Arts for her upcoming staged theatrical work, The Aurora Madrigals, and was also selected as the winner of Lorelei Ensemble’s Call For Scores for her piece Whiteout. She has been in residence as a composer at Yaddo and Avaloch Farm, and has created/composed experimental operatic performance projects for REDCAT's New Original Works Festival and Wild Up. She has performed her innovative work for processed voice and electronics at institutions such as Lincoln Center, Art Bath, Big Ears Festival, Birds of Paradise Festival, Musica Festival Strasbourg, De Doelen, Prototype Festival, and the Bemis Center, among others.