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Salzburg
International Chamber Music Concerts
Salzburg, Austria |
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Wuthering Heights
At Minnesota Opera |
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The Adventures of Pinocchio
At Minnesota Opera |
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New Album: Exhilaration
Dickinson and Yeats Songs |
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See Full Schedule
Recent Engagements |
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2011/03/20
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
Syracuse.com
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2011/7/20
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
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2011/05/29
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
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2011/05/28
The London Financial Times
Adriana Zabala boils over in frustration as Heathcliff’s eventual wife Isabella.
George Loomis
The London Financial Times
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2011/04/25
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
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2009/05
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
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2009/04
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
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2009/03/06
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
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2009/03/03
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
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2009/03/01
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
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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
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2008/09/15
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
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2008/01/27
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
mspmag.com
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2007/01/22
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
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2007/01/22
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
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2007/01/21
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
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2006/11/03
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
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2006/02/04
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
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2005/11/18
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
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2005/05/20
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
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2005/03/12
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
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2005/03/16
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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