Sister Carrie

As Carrie

World Premiere

Florentine Opera Company


For excerpts and more information:  

Giulio Cesare

As Sesto

New production

Florentine Opera Company


  Milwaukee Sentinel review  
  Wisconsin Public Radio interview  



Production Photos


Other Photos


NY Times Review

Associated Press Review

St. Paul Pioneer Press Review

Star Tribune Review

NY Times Article


MN Opera Playlist


Visual Art (1 / 2)


Salzburg International Chamber Music Concerts

Salzburg, Austria



Wuthering Heights

At Minnesota Opera

  Video: How I Love Them




The Adventures of Pinocchio

At Minnesota Opera






Media Samples
  Dale Johnson Interview


Martin Duncan Interview

Four Forthcoming Recordings  Songs of Louis Durey/Viardot's Le Dernier Sorcier/Simon's Romulus Hunt/Sister Carrie on NAXOS

L'equipe Durey/with Manhattan Girls' Chorus/Nashville Opera/Florentine Opera

2016 April

Les Contes D'Hoffmann  Niklausse

Madison Opera

2016 April

Mahler "Resurrection" Symphony no. 2  alto soloist

Quad City Symphony Orchestra

2016 May

Act III of Gluck's Orfeo ed Euridice  Orfeo

St. Paul Chamber Orchestra

2016 July

Excerpts from forthcoming World Premiere of Sister Carrie  Carrie

Steinway Hall, NYC

2016 August

Dominick Argento's A Few Words About Chekhov  Soloist, with baritone Jesse Blumberg & pianist Martin Katz

Source Song Festival 2016- Opening Concert

2016 October

World Premiere of Aldridge & Garfein's Sister Carrie  Carrie

Florentine Opera Company

2016 November

Unpublished songs of Louis Durey  Durey Project

National Sawdust, Brooklyn, NY

2017 January

L'Arbore di Diana (Diana's Garden) Martin y Soler  Amore

Minnesota Opera

March 11,16,18,19

World Premiere of Bolcom's Dinner at Eight  Lucy

Minnesota Opera

2017 April 15

Pergolesi Stabat Mater  Guest Soloist

St. Paul Chamber Orchestra

2017 April 8,9

St. Matthew Passion  Alto soloist

Quad City Symphony

2017 May 5,7

St. Matthew Passion  Alto soloist

Colorado Symphony

2017 Aug 26, 29, Sept. 1

Ariadne auf Naxos  Komponist

Berkshire Opera Fesitval

2017 October 16th

Barber's Dover Beach, Respighi's Il Tramonto  Guest Soloist

The Schubert Club- Accordo

2017 October 6th, 8th

Beethoven's 9th Sympony  Alto Soloist

Boston Handel & Haydn Society

2017 November 11, 12, 14, 16, 17, 18, 19

Le Nozze di Figaro  Cherubino

Minnesota Opera

2018 January 25, 27, 28, 30

World Premiere of Steal a Pencil for Me (Cohen)  Manja

Opera Colorado

2018 March 17,20,23,25

Florencia en el Amazonas  Paula

San Diego Opera

2018 April

Florencia en el Amazonas  Paula

Madison Opera

See Full Schedule

Recent Engagements


Dinner at Eight, world premiere with Minnesota Opera

The opera’s most finely crafted aria comes from Adriana Zabala as a woman opening her heavy heart to her unfaithful husband.

Rob Hubbard  The St. Paul Pioneer Press


Dinner at Eight, world premiere with Minnesota Opera

…each of the nine principal characters gets one short aria. Some of them connect: The waltzy “Don’t bother, dear,” sung by Adriana Zabala, forthright as Lucy Talbot…has some heft and feeling.

Heidi Waleson  The Wall Street Journal


Dinner at Eight, world premiere with Minnesota Opera

…but Adriana Zabala steals the show with Lucy Talbot’s smoky cabaret blues arietta. 


Dinner at Eight, world premiere with Minnesota Opera

As his long suffering wife Lucy, mezzo-soprano Adriana Zabala brings unexpected beauty to her aria, torn by her husband's betrayals, yet still in love with him.

Arthur Dorman


Cherubino onsite Marriage of Figaro at the Hill House

Another standout performance among this astonishing cast was Adriana Zabala as the hormone-crazed pubescent Cherubino. Zabala brought a delightful and always-welcome stage presence to the proceedings, managing to bring different colors and layers to each moment she was onstage.

Lydia Lunning  Twin Cities Arts Reader


Amore in Diana's Garden (L'arbore di Diana)

As Amore, though, Zabala steals every scene she is in, embodying both the vocal artistry and physicality that marks this production.

Lydia Lunning  Twin Cities Arts Reader


Amore in Diana's Garden (L'arbore di Diana)

Mezzo-soprano Adriana Zabala, a company favorite, is in her element in the trouser role as the impish Amore, with personality to spare and a vocal boldness and clarity that has characterized her many other roles in St. Paul

Jay Furst   Post Bulletin


Sister Carrie, world premiere with Florentine Opera

Adriana Zabala created a sympathetic Carrie whose actions were entirely understandable. Zabala’s warmly-textured lyric mezzo registered enchantingly, with an easy fluidity reflective of her capability in Baroque music, and she resonated to text insightfully. She was given a lovely aria “Everything is Paid For” in which she deftly revealed the girl’s frightened need to find a safe place.

Mark Thomas Ketterson  Opera News


Sister Carrie, world premiere with Florentine Opera

Magnificently sung and acted by its two leads, the world premiere of Sister Carrie was presented by the Florentine Opera on Oct. 7 and 9. It is hard to imagine a better Carrie than mezzo Adriana Zabala… Zabala’s posture becomes an acting element, conveying allure, demands, humor — whatever role Carrie has molded herself into… For anyone who might long for the bel canto trills of classical opera, these are provided in rapid abundance during a backstage “mash notes” duet by Zabala and fine soprano Alisa Suzanne Jordheim.

Dominique Paul Noth  Urban Milwaukee


Sister Carrie, world premiere with Florentine Opera

Mezzo-soprano Adriana Zabala gave a dramatically compelling, beautifully sung performance in the title role on Friday. Baritone Keith Phares was strikingly well matched to Zabala in the role of Hurstwood, both in dramatic presence and focused, refined, vocal deliveries.

Elaine Schmidt  Milwaukee Journal Sentinel

2013, 5/11

Le Nozze di Figaro with Florentine Opera Company

Mezzo Adriana Zabala put on a singing clinic as Cherubino. What a brilliant, clear, utterly controlled voice, unified top to bottom, pristine in pitch and aglow with rich and harmonious overtones. Her phrasing, the opposite of the Countess’ sighing, opened expansively to model her dear boy Cherubino’s runaway enthusiasm, his tangle of love, lust and starry, poetic romanticism. She sang thus amid some of the best and most athletic physical comedy you’ll see in an opera. Her Cherubino darts like the mouse in a Tom and Jerry cartoon.

Tom Strini  Third Coast Daily

2014, 3/29

Giulio Cesare with Florentine Opera Company (Sesto Pompeo)

Mezzo-soprano Adriana Zabala gave a strikingly believable performance in the "pants" role of Sesto. She blended vocal clarity, a youthful emotional directness and a light-footed stage presence to create a highly sympathetic character.

Elaine Schmidt  Milwaukee Journal Sentinel


Gershwin, Ellington and Porter with the Syracuse Symphony

Adding glitter to the golden sounds of the SSO, Andrew Russo, piano, and Adriana Zabala, mezzo-soprano, charmed the audience with their song stylings....Zabala exhibited depth and sparkle in her song interpretations. She was especially effective singing Gershwin’s “You Don’t Know Paree,” and Ellington’s “Prelude to a Kiss,” A whispered gasp of pleasure rippled through the hall when they heard that Russo and Zabala would perform “In The Still of the Night.” ...Winding up with music by Duke Ellington, the finale included the stellar performance of Zabala and Russo on “I Got it Bad (And that Ain’t Good)."

Linda Loomis


Cosi fan Tutte with Opera Saratoga

The two stunning female leads are equally talented, both with each other and with the men...Mezzo Adriana Zabala as Dorabella is a knock-out singer, her creamy tones lending intimacy to the music, and her acting shining with star quality.

Judith White  The Saratogan


The St. Paul Pioneer Press

Adriana Zabala makes Heathcliff's neglected wife a compelling character in a gripping fourth-act aria.

Rob Hubbard  The St. Paul Pioneer Press


The London Financial Times

Adriana Zabala boils over in frustration as Heathcliff’s eventual wife Isabella.

George Loomis  The London Financial Times


The Wall Street Journal

Minnesota fielded a strong cast... Adriana Zabala, as Isabella Linton, went convincingly from flirty to terrified after she makes the mistake of marrying Heathcliff.

Heidi Walleson  The Wall Street Journal


Pinocchio in Opera News

Zabala, who was onstage almost the entire evening, bounded about with relentless boyish energy and displayed a firmly focused mezzo that was resonant from top notes to bottom.

Michael Anthony  Opera News


The Barber of Seville (Opera Carolina) in Opera News

Even among this strong ensemble cast, the Rosina of Adriana Zabala was a particular delight. She was a high-spirited, attractive little minx, and it was easy to see why the Count should be so smitten. Zabala's singing was equally effective. Her voice has a pleasant timbre and is well controlled throughout her ample range. Her acting was particularly alive to each possible nuance: for example, her expression of delighted astonishment at learning Almaviva's true identity was priceless.

Luther Wade  Opera News Online


Pinocchio in the Wall Street Journal

As Pinocchio, mezzo Adriana Zabala demonstrated tremendous stamina and boy-like flair; she made his alternation of foolish behavior and abject remorse seem perfectly credible.

Heidi Waleson  The Wall Street Journal


The American Premiere of Dove's The Adventures of Pinocchio

As the title character, Adriana Zabala sings with intense innocence and joy, projecting life and intensity through all the makeup and beyond Pinocchio’s growing nose. Hardly leaving the stage, Zabala captures the sympathy and attention of the audience throughout the tall tale.

Rebecca Mitchell  Twin Cities Daily Planet


The American Premiere of Dove's The Adventures of Pinocchio

The character of Pinocchio is brought to vivid life by the gifted mezzo-soprano, Adriana Zabala. With her versatile range complimented by emotive feeling, Zabala powerfully projects Pinocchio’s stages of maturation from a child given to self-centered sullenness to a youth wandering through heartsick longing. Pardon the awful pun (I’m sorry, but I can’t resist), there’s nothing wooden about Zabala’s performance. She carries the character on his adventure with a vibrancy that will hold the attention of adults and children alike.

Brad Richason  Twin Cities Performance Art Examiner

2009, 03

Exhilaration in Opera News Online

Kallor has found a wonderful exponent in Adriana Zabala, a gifted, agile mezzo-soprano. Kallor knows how to make these words sing, and Zabala gives perfect flight to them. Singing with uncommon clarity and natural beauty, she seems to be deep inside both the poems and Kallor's musical realizations.

Joshua Rosenblum  Opera News Online


Le Nozze di Figaro

In addition to Adriana Zabala's lovely singing, she had the unusual achievement of actually making the character look and act like an adolescent boy.

Richard Todd  The Ottawa Citizen


Stephano with Minnesota Opera

Of the supporting singers, Adriana Zabala was the standout, singing the trouser role of Stephano with true Gallic grace.

William Randall Beard


Waiting for the Barbarians in the New York Times

As the barbarian girl, the mezzo-soprano Adriana Zabala sang with a bright, penetrating voice. She was a vivid, fearless presence in the physically demanding role, which required her to perform one scene completely unclothed and covered with bruises.

Steve Smith  The New York Times


Waiting for the Barbarians in the L.A Times

Adriana Zabala, the Barbarian Girl whom the Magistrate takes in after she is tortured, was extraordinary, a young, vibrant mezzo-soprano.

Mark Swed  Los Angeles Times


Waiting for the Barbarians/Barbarian Girl

One wished for a larger role for the barbarian girl as mezzo-soprano Adriana Zabala had an impressive clarity and emotion.

Jeanne Claire van Ryzin  Austin American-Statesman


Les Contes d'Hoffmann: Muse/Niklausse

Mezzo-Soprano Adriana Zabala is fabulous as Hoffmann's muse and guardian angel, Niklausse. Zabala's polish and vocal agility make her an ideal Muse/Niklausse. She and Alison Bates take full advantage of the bacarolle, one of the loveliest moments in the show.

Jay Furst  The Post-Bulletin


Bernstein Memories- Madison Symphony

Zabala returned to give a highly entertaining rendition of "What a Movie!" from "Trouble in Tahiti," one of Bernstein's two operas. The mezzo-soprano has a wonderful range and a good sense of comic timing, both of which were put to excellent use.

Michael Muckian  The Capital times


The New York Times- Teatros Espanoles

Adriana Zabala, who has a strong, clear mezzo-soprano that she uses adroitly…sang a number of the evening’s highlights…(including) a breathtakingly rapid tongue-twister of a patter song, which she coolly pulled off.

Anne Midgette  The New York Times


The Barber of Seville

The mezzo-soprano Adriana Zabala made a lithe, sexy Rosina, making the character charming and smart. Her voice had the luster of liquid silver in the middle range and beautiful fire at the top.

David Williams  The Charleston Gazette


Zabala is the standout in Syracuse Opera's well-coifed Barber of Seville

The standout among McKee's agreeable cast of singers is Adriana Zabala, whose delightful Rosina captured all the coquettish charm of her character, whether she was singing or acting. Her engaging mezzo-soprano is brilliant in its high register and deep in the low register, dazzling the crowd in "Una vocepoco fa" with her poise and elan.

By David Abrams   The Post-Standard


Il barbiere di Siviglia (Syracuse Opera): Soprano sparkles

The sooner Syracuse Opera can bring back Adriana Zabala, the better it is for the company.

Zabala's saucy Rosina, with a soprano that sometimes soared, sometimes floated and was consistently lyrical and effortless, proved to be the highlight of last weekend's lively production of "The Barber of Seville."

JOAN E. VADEBONCOEUR   The Post-Standard

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