2009 November 22

Mozart Requiem  Alto soloist

The Oratorio Society of Minnesota

2010 March

Copland's In the Beginning  Soloist

Vocalessence

2010 May

Hansel and Gretel  Hansel

Austin Lyric Opera

2010 May 7

Medelssohn Elijah  Alto soloist

The Oratorio Society of Minnesota

2010 June 10,16,19,22, 25

Salome  The Page

Palau de les Arts Opera Reina Sofia, Valencia (Spain), Maestro Zubin Mehta

2010 June 18,21,24, 27, 30

Carmen  Mercedes

Palau de les Arts Opera Reina Sofia, Valencia (Spain) Maestro Zubin Mehta

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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