Giulio Cesare

As Sesto

New production

Florentine Opera Company


  Milwaukee Sentinel review  
  Wisconsin Public Radio interview  
MPR 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

New Album: Exhilaration

Dickinson and Yeats Songs






Media Samples


He wishes for the cloths of Heaven


I should not dare to leave my friend


Black is the color of my true love's hair



2015 November 13,14,15, 21,22

Florencia en el Amazonas  Paula

Arizona Opera

2015 December 19,20,21

Messiah  alto soloist

New Jersey Symphony

2015 December 5 & 6

Cohen & Garfein's Alzheimer's Stories  mezzo soloist

Montlcair State University

2016 March 4th & 5th

St. Matthew Passion, Ted Mann Concert Hall  alto soloist

University of Minnesota Chorus and Orchestra

2016 April 15th & 17th

Les Contes D'Hoffmann  Niklausse

Madison Opera

2016 April 2 & 3

Mahler "Resurrection" Symphony no. 2  alto soloist

Quad City Symphony Orchestra

2016 April 21

Recital with Gregg Kallor  Recitalist

Tuesday Musical Association of Akron, Ohio

2016 May 6 & 7

Act III of Gluck's Orfeo ed Euridice  Orfeo

St. Paul Chamber Orchestra

2016 July 12-15

The Marriage of Figaro  Cherubino

Angels & Demons

2016 October 26th

Recital with Timothy Lovelace  Recitalist- Small things, Big Dreams

St. Olaf College

2016 October 7th & 9th

World Premiere of Aldridge & Garfein's Sister CArrie  Carrie

Florentine Opera Company

November 7th

Unpublished songs of Louis Durey  Durey Project

National Sawdust, Brooklyn, NY

2017 January 21,26, 28, 29

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

See Full Schedule

Recent Engagements

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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