She was known as a member of the elite of Swedish stage actors at the time: as a singer, she was compared to Henriette Widerberg, and as an actress, she was mentioned alongside Charlotta Eriksson and Sara Torsslow.

Frösslind came from a poor home and was enrolled in the singing school of the Royal Swedish Opera by her mother after the death of her father, at the age of eleven.

It had come to the attention of the director, that Johan Fredrik Wikström abused Frösslind, Sevelin and Casagli, upon which he questioned them to find out the truth.

"[1] Director Skjöldenbrand ended the affair with the dismissal of Wikström in his capacity as a song master with a reprimand of his lack of self-control and replaced him with Karl Magnus Craelius (teacher of Jenny Lind), under whose more kind guidance they made better progress.

That year, the opera had been brought back from Paris with Gustav Åbergsson and Carolina Kuhlman, who had excepted to play the role: "An actor of the higher comedy, Mr Åbergsson, had in the company of his mistress, an excellent actress in her own right, who were later to become his wife, went to Paris to develop himself in his profession",[1] and brought the new play of Cendrillon with them, with Åbergsson demanding that the title role be given to Kuhlman, and it caused controversy that a student was given such a big role in the premier of a new opera on her debut by the director.

[1] The journalist Nils Arfvidsson described her ability: In contemporary press, the star actresses Sara Torsslow, Charlotta Eriksson and Elise Frösslind were compared to a rose or a tulip, a jasmine or a daisy, and a lily or a forget-me-not, by which Torsslow was claimed to represent "The Deeply Moving", Eriksson "The Sensitive Grace and Feminine Gracefulness" and Frösslind "The Timid Sweetness, Wit and Naivety".

The paper Freja described her ability as restricted but with few competitors in Europe within it, and commented in the autumn of 1836 that it was "a pleasure to see, that Miss Lind shows signs in her improvement which my one day able her to replace the in her genre always unsurpassed Mrs Frösslind.

As a person, Frösslind was described as an intelligent and humble character, unaffected by flattery and diligently and successfully developing her artistic talent.

[1] In 1813, Elise Frösslind married her colleague, the operatic tenor hovsångare Carl Gustaf Lindström, "First actor and singer at the opera and the Dramatic theatre", with whom she had five children.

[1] The Torsslow couple, in their position of star actors, launched a strike in which they demanded the reforms be stopped and the disciplinarian rules abolished.

[1] The discontent of the disciplinarian system was voiced by Elise Frösslind who, when director Puke asked her if she was satisfied with the settlement replied: "Oh yes, the only thing missing is the flogging.