Vocalist - Mezzo-Soprano
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
Ottawa Chamberfest travelogue - from your critic without borders
"The women of the choir [sang] 'An denWassern zu Babylon' with the amazing beautiful voice of mezzo-soprano Krisztina Szabó."
James Bash, Oregon Music News
Review: La Clemenza di Tito demands reconsideration
"Mozart crafted a virtuoso role-Sesto, Titus's friend (and Vitellia's lover) - for a castrato, sung on this occasion by mezzo Krisztina Szabo. She handles the part with exceptional ability, combining refined work with the technique required to do justice to an exceptional part."
David Gordon Duke, Vancouver Sun
With Glover sidelined, Music of the Baroque still delivers worthy Purcell
"The opera's main singers-Szabo as Dido ... and Pancella as the Sorceress-were superb, paying as much attention to the opera's dramatic requirements as to shaping beautiful sounds. Szabo's mezzo was strong and ringing, with a dusky edge in the low register and golden highlights near the top. Dobb's bright, flexible soprano was a girlish foil to Szabo's more womanly sound. Muller brought both gravity and real torment to Aeneas' music while Pancella fairly brimmed with gleeful malice as she plotted to separate the lovers."
Wynne Delacoma, Chicago Classical Review
Idomeneo, Canadian Opera, 5/9/10
"In the castrato role of Idamante, mezzo-soprano Krisztina Szabó sang with passion, beauty and power. In an unusual move, even the orchestra joined in the huge ovation for her brilliant account of 'Il padre adorato.'"
Christopher Hoile, Opera News
THE GHOSTS OF VERSAILLES - Wexford Festival Opera
"Krisztina Szabó was a nimble Susanna, both musically and dramatically."
Brian Kellow, Opera News
There's cause to rejoice when Handel's Messiah returns
"Mezzo Krisztina Szabó, who was called in at the last minute to replace ailing counter-tenor Matthew White, did an excellent job."
Toronto Star
"I love what I do. I feel very lucky to do what I do and have that family life. I have the best of both worlds." Read More...
Ciara Dwyer, The Independent (Ireland)
Mercadante opera
"Krisztina Szabo (Bianca) used her light mezzo with stylistic flair."
Tim Smith, Baltimore Sun
WCO takes 'Oath' to superb level
"As the much-put-upon Bianca - the grown-up young girl who saved Elaisa's dad and is trapped in a miserable forced marriage to Manfredo - mezzo Krisztina Szabo sang her role beautifully and with great emotion. Her honeyed voice has an astounding range, with clean top notes and rich low notes that seemed at times to intersect with the upper range of a baritone."
T.L. Ponick, Washington Times
"Performances were just as solid, with outstanding work by Krisztina Szabó (gypsy Rosalind), John Bellemer, Caroline Worra and Dorothy Byrne." Read More...
Geoff Brown, London Times
"Szabó performed the Queen's role with a fine, clear tone and a glassy grace that always had an undercurrent of menace." [THE MIDNIGHT COURT - Queen of Puddings Music Theatre]
Toronto Globe and Mail
"A creamy, tastefully embellished "Dove sono" from Krisztina Szabó was the vocal highlight of the evening..." [LE NOZZE DI FIGARO - Chicago Opera Theater]
Opera News
"It's unusual to hear a mezzo-soprano Countess, but the many colors in Szabó's dark-velvet voice were put to affecting use in the spurned but loving wife's two great arias, which few higher-voiced singers have rendered so beautifully." [LE NOZZE DI FIGARO - Chicago Opera Theater]
Chicago Tribune
Total: 49 (Viewing: 31–49)