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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.
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William Randall Beard,
mspmag.com
2007/05/14
Elijah with the Mormon Tabernacle Choir
Supporting Terfel were... mezzo Adriana Zabala, who brought menace to her Queen Jezebel and sweet reassurance to her Angel.
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Catherine Reese Newton,
The Salt Lake Tribune
NY Concert Review of Weill Hall Concert
Mr. Kallor's own "Exhilaration", in its world premiere, made a lovely first impression... This song cycle on Poems by Emily Dickinson was magnificently sung by a Mezzo-soprano, Adriana Zabala.
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Harris Goldsmith,
New York Concert Review
2007/01/22
Waiting for the Barbarians/Barbarian Girl
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.
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Steve Smith,
The New York Times
2007/01/22
Waiting for the Barbarians/Barbarian Girl
Adriana Zabala, the Barbarian Girl whom the Magistrate takes in after she is tortured, was extraordinary, a young, vibrant mezzo-soprano.
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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.
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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.
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Jay Furst,
The Post-Bulletin
2006/10/30
Les Contes d'Hoffmann: Muse/Niklausse
A night in Venice is evoked splendidly by a solo as blissful and soothing as a ride down the canal, courtesy of Adriana Zabala.
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Ron Hubbard,
St. Paul Pioneer Press
2006/10/30
Les Contes d'Hoffmann: Muse/Niklausse
The Nicklausse/Muse part is charmingly portrayed here by Adriana Zabala.
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Michael Anthony,
Minneapolis Star Tribune
2006/06/19
Carmen at the Wildwood Festival
Mezzo-Soprano Adriana Zabala was absolutely captivating in the title role.
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Eric Harrison,
The Arkansas Democrat Gazette
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.
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Michael Muckian,
The Capital times
2005/11/15
Teatros Espanoles- New York Festival of Song
Tackling the title song from Ernesto Lecuona's María la O, Adriana Zabala brought sultry style to these Cuban blues.
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Bruce-Michael Gelbert,
Theater Scene.Net (New York)
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.
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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.
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David Williams,
The Charleston Gazette
2005/02/01
Adriana Zabala: artistry in every phrase (Interview)
Clich Here to go to the Interview
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by Brian Shepard,
American Music Teacher, Feb-March, 2005
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.
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By David Abrams ,
The Post-Standard
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