For excerpts and more information:

Forthcoming Recordings  Viardot's Le Dernier Sorcier/Simon's Romulus Hunt

Manhattan Girls' Chorus/Nashville 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Unpublished songs of Louis Durey  Durey Project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

2017/8

Composer, Ariadne auf Naxos with Bershire Opera Festival

“Mezzo-soprano Adriana Zabala, in the trouser role of The Composer, gives a passionate, lithe…and utterly Byronic portrait of the artist as a young egotist. Her vibrant, throbbing, white-hot vocalism is ribbed with steel in the role’s moments of unsurpassed indignation, yet melts into translucent rapture as the character succumbs to the charm and blandishments of the coquette Zerbinetta…the ravishing Zerbinetta/Composer duet that climaxes the Prologue is here rendered sizzlingly memorable via the exquisite vocal chemistry between Haslett and Zabala.

Charles Geyer  MyScena.com

2017/8

Composer, Ariadne auf Naxos with Bershire Opera Festival

“Zabala has the richness of the role to play, a young man whose talent is music and whose inclination is to love sopranos. She gives a strong and healthy impression with her strong mezzo-soprano tones to the firmness, and the finesse, of the unnamed artist. I have always felt that the authors were playing here with their own sense of unreasonable anonymity as creators of a work brought to life by the vocal artists they employ. Zabala brings that very sense of compassion to the role making her voice ring with the occasional hollow tone that expresses the loneliness he feels seeing his Diva and meeting Zerbinetta, queen of the comedians. This is a superb performance.”

J. Peter Bergman  The Berkshire Edge

2017/8

Composer, Ariadne auf Naxos with Bershire Opera Festival

“Mezzo-soprano Adriana Zabala took the difficult first act role of The Composer and made it her own. Singing with vivacious expression her voice has a refined quality, so easy on the ear. A great performance, met by wild applause.”

Rex Hearn  The Berkshire Record

2017/8

Composer, Ariadne auf Naxos with Bershire Opera Festival

“As to Adriana Zabala, the Composer, Nicole Haslett as Zerbinetta and Marcy Stonikas as Ariadne, we cannot imagine, at least last night in that house, greater perfections. Zabala, lithe and trim in the pants role of (a male) composer, sang movingly (with perfect soupçons of adolescent cosmic angst) in her exquisite mezzo. Exiting the theater, glamorously accoutered as a real star, she confided to us how much she loves this role. Charming and disarming.”

Tom Schlemmer  Boston Music Intelligencer

2017/3

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

2017/3

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

2017/3

Dinner at Eight, world premiere with Minnesota Opera

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

Parterre.com 

2017/3

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  TalkinBroadway.com

2016/7

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

2017/1

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

2017/1

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

2017/10

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

2016/10

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

2016/10

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