Vocalist - Mezzo-Soprano
Acclaim
 
Krisztina Szabó shimmers in new work by Gary Kulesha at NAC

"Kulesha tailored his composition to Szabó’s stunning range, assured technique and penetrating tone. This unbelievably consistent singer deftly navigated the violent mood swings in Woolf’s writing: her expression was at turns confidential, mocking and snobbish, serene, or almost wailing in pain, but there was never a snag or a sharp corner to her singing."

Natasha Gauthier, Artsfile
Edmonton Opera makes La Cenerentola sizzle

"Szabó, as Cenerentola herself, encompassed both innocent charm and later more sophistication. When Rossini finally allows her to really let go vocally, with bel canto decoration at the end of the opera, she showed why she will be making her Covent Garden debut in a new George Benjamin opera next year."

Mark Morris, Edmonton Journal
Messiah - Tafelmusik

"Krisztina Szabó’s rendition of 'He was despised' was sung with a warm and buttery texture. Her first way through the subject was declaratory. The da capo was nuanced with feelings of incredulity and disbelief. She was broken-hearted as she told this story. Surprising even me, this wonderful aria was my favorite of the evening."

Brian Chang, Musical Toronto
Talisker Players Closes Season With Stories Of Star-crossed Lovers

"Krisztina Szabo demonstrated her virtuosity performing a piece full of challenges including difficult shifts in pitch, unusual rhythms, and projecting clear diction over an ensemble playing at fortissimo."

Robin Roger, Musical Toronto
Canadian Opera Company 'Pyramus and Thisbe', newest Canadian opera

"It was Szabó who truly shone that night. She was able to pull together emotions from opposite ends of many spectrums and deliver it with singing that was sublime, eerie and filled the house, proving that she can perform equally well in a large venue as a smaller, more intimate one.

"Szabó, in particular, performed splendidly. Her soprano was at times spiritual and at times the stuff of abject heartbreak, but there was never mistaking exactly which emotion she was trying to convey. Addis and McCausland were solid, but when paired next to Szabó, there was only ever one performer on stage."

Christina Strynatka, Examiner
Pyramus and Thisbe a compelling journey into the meaning of time and storytelling

"Szabo’s mezzo voice is a burnished joy, able to cut through both a 20-odd person chorus and a full orchestra with clarity and beauty, and her presence on stage was luminous.

"... Krisztina Szabo shone with extra brilliance. Her 15-minute solo, The Lament of Ariadne, which opened the show, was a tour de force, zooming through a catalogue of emotions like a YouTube video on fast-forward."

Robert Harris, Globe and Mail
The singular saga of Pyramus and Thisbe

"The Canadian world premiere of Barbara Monk Feldman’s Pyramus and Thisbe (was) stunningly sung ... Szabo manages to be sensual yet sensitive, tragic yet troubling."

Richard Ouzounian, Toronto Star
Pyramus and Thisbe - Canadian Opera Company

"Szabó’s performance of the 'Lamento' is exquisite. Her voice has even more lustre and richness than usual and her word-painting is impeccable."

Christopher Hoile, Stage Door
'Erwartung' – Canadian Opera Company

“In Erwartung Canadian mezzo-soprano Krisztina Szabó gave a finely detailed performance as the Woman, both as singer and actor. Bewilderment gave way to fear, anger, and distress as the Woman relived the fragments of the past that rose unbidden in her memory. Szabó’s voice was infinitely expressive but lacked the hard edge that would help it more consistently cut through the orchestral texture. Yet, the very lack of that hardness also contributed greatly to our empathy for her character.”

Christopher Hoile, Opera News
Death and Desire – Against the Grain Theatre

“The performances are ravishing.... Szabó [Messiaen’s woman in black] is fierce and committed, her clear voice filling the hall with thrilling passion.”

Glenn Sumi, NOW Toronto
The Canadian Opera Company revives Robert Lepage's double bill

“The performance of Canadian mezzo-soprano Krisztina Szabó who carried the heavy opera with remarkable strength and enthusiasm, is one to remember.”

Madalina Hubert, Epoch Times
Bluebeard's Castle and Erwartung

“Erwartung is … a psychological drama in which a female character (the excellent and committed Krisztina Szabó) searches in the darkness for her lover. We enter her mind and see all from her sometimes twisted perspective, including her doppelgänger and psychiatrist.”

Jon Kaplan, NOW Toronto
Canadian Opera Company brings mad, mad modern world to life

“And then there’s Krisztina Szabo, the one and only performer for the 30-plus minutes of Erwartung, possibly the most thankless role in opera, full of dissonances, leaps of register and pitch, all performed without the tiniest of tiny safety nets. Szabo is a courageous performer, full of the spirit of daring, and her Erwartung worked beautifully. Sometimes, Schoenberg unmercifully pits this solo voice against a full blaring orchestra, which makes her hard to hear, but especially in the quieter, more intimate sections of the work, Szabo projected a character, who, mad or sane, hallucinating or grounded, still elicits sympathy.”

Robert Harris, Globe and Mail
Return of a landmark production

“In Erwartung the solo singer (Krisztina Szabó giving an utterly committed performance) has ... quite the personal triumph in the Schoenberg work.”

Michael Johnson, ConcertoNet.com
Bluebeard’s Castle/Erwartung still has the magic

“Schoenberg’s music jerks wildly around, like the EKG of someone on the verge of a major cardiac episode and this is indeed the best way to describe The Woman, sung by Krisztina Szabo with an emotional abandon that manages to be thrilling and horrifying at the same time.”

Richard Ouzounian, Toronto Star
Bach's CHRISTMAS ORATORIO - Music of the Baroque

“Mezzo Krisztina Szabo brought worthy drama to her recitatives in the latter cantatas.”

Lawrence A. Johnson, Chicago Classical Review
Some good operatic shots from Tapestry in Toronto

“The Whisky Opera … dealt with one woman of easy virtue (mezzo-soprano Krisztina Szabó) coaching another (soprano Carla Huhtanen).... A solo for Szabó followed, ardent and soaring.... In a scene from Oubliette in which a woman is liberated after long incarceration (‘I used to be Laura’) Szabó was mesmerizing.”

Arthur Kaptainis, National Post
Two dramatic works featured in Nasher's Soundings concert

“Krisztina Szabó had just the right hint of sizzle in her succulent mezzo.”

Scott Cantrell, Dallas Morning News
Strong singing in Vancouver Opera's Don Giovanni
"The principals were vocally secure … soprano Erin Wall and mezzo Krisztina Szabo were impressive as Donnas Anna and Elvira."
David Gordon Duke, Calgary Herald
Don Giovanni's spurned women run away with the show
"The other standout is Krisztina Szabó’s Donna Elvira, a woman repeatedly tormented by our shameless Don Juan. The fiery mezzo nailed it from the minute she promised 'I’ll tear his heart out' to her polished rendition of the punishing, frantic ornamentation of 'Mi tradì'."
Janet Smith, Georgia Straight
Don Giovanni - Vancouver Opera
"Mezzo-soprano Krisztina Szabó as Donna Elvira, sopranos Erin Wall as Donna Anna and Rachel Fenlon as Zerlina may be the best-looking female cast to elegantly grace the Queen Elizabeth Theatre stage in some time. ... Krisztina Szabó is marvelous as the coquettish Donna Elvira. Delivering good coloratura in her showpiece aria, Mi tradi quell'alma ingrate she reflects on the misery that Don Giovanni has brought, yet still harbours a fondness towards him. Ms. Szabó...reveals comic timing and a natural penchant for physical comedy."
John Jane, Review Vancouver
Don Giovanni - Vancouver Opera
"Szabó’s lament in act two was heartfelt, authentic and deeply moving."
Danielle Benzon, Plank Magazine
Messiah brings comfort
"Mezzo-soprano Kristina Szabo has a strong, charac-terful voice that was heard to very good effect in her solos.... Her singing of He Shall Feed his Flock was beautifully handled, with nuance and grace."
Kenneth Delong, Calgary Herald
Vancouver Opera's La Boheme breathes believable life into Giacomo Puccini's characters
"Mezzo-soprano Krisztina Szabó’s Musetta is vividly sung and charismatic too."
Janet Smith, Georgia Straight
An Old Take on a Classic Proves Unexpectedly Fresh
"Krisztina Szabó’s Musetta is coquettish and full of bravado. She storms the stage in Act 2 and seems to occupy it for the duration of the scene as the red centerpiece of set designer Erhard Rom’s visual feast. Yet Szabó gives her Musetta enough space to develop, adding texture to the characterization, particularly in the heartfelt moments of the final act when she bursts upon the festivities of the male quartet with a dying Mimi."
Arman Kazemi, Vancouver Weekly
L'AMOUR DE LOIN - Canadian Opera Company
"Szabó's rich mezzo-soprano ideally conveyed the ghostly Pilgrim's strange mixture of duty and suffering."
Christopher Hoile, Opera News
L'Amour de loin by Kaija Saariaho at the Canadian Opera Company
"Krisztina Szabo's Pilgrim was in rich and flexible voice, a stable centre to the drama's binary."
Lillas Pastia, Definitely the Opera
Love From Afar review: Modern opera at its very best
"Krisztina Szabo tackles the eerie role of The Pilgrim with similar success, going from seemingly detached matchmaking to shatteringly involved guilt as the work evolves and following every step with a breathtaking clarity."
Richard Ouzounian, Toronto Star
COC delivers a distant love letter from a medieval poet
"It's a long show for the three principals: Rudel (baritone Russell Braun), Clémence (soprano Erin Wall) and the Pilgrim who mediates between them (mezzo-soprano Krisztina Szabo). These three Canadians showed the best of their extensive art, singing beautifully and somehow managing to fill out characters that might in other hands have seemed like debating positions set to music."
Robert Everett-Green, Globe and Mail (Canada)
Canadian Opera Company's L'Amour de loin (Love from Afar)
"The three singers are a treat: Toronto baritone Russell Braun and mezzo-soprano Krisztina Szabó are at their vocal best as troubadour-prince Jaufré Rudel and the Pilgrim who acts as matchmaker between the lovelorn man and distant captive Clémence, strongly portrayed by Canadian-American soprano Erin Wall."
John Terauds, Musical Toronto
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