Vocalist - Mezzo-Soprano

Canadian mezzo-soprano Krisztina Szabó has become highly sought in both North America and Europe as an artist of supreme musicianship and stagecraft. Following recent performances of Ottavia in L'incoronazione di Poppea the Chicago Tribune exclaimed "Krisztina Szabó stole every scene with her powerful, mahogany voice and deeply poignant immersion in the empress' plight." The New York Times praised her Lincoln Center debut as Dorabella in Così fan tutte as "clear, strong, stately and an endearingly vulnerable Dorabella."

In the 2018-19 season, Ms. Szabó performs Steffani’s Stabat Mater and arias, and Messiah with Tafelmusik Baroque Orchestra; Messiah with St. Louis Symphony Orchestra; the world premiere of Ian Cusson’s Where There’s a Wall at National Arts Centre, Ottawa; George Benjamin’s Into the Little Hill with Mahler Chamber Orchestra and Musikfest Berlin; the Woman in Toshio Hoshikawa’s The Raven at University of Toronto; Pergolesi’s Stabat Mater with Early Music Seattle; the premiere of a new oratorio by Barbara Croall entitled Miziwe… (Everywhere…) with Pax Christi Chorale; Claude Vivier’s Kopernikus with Toronto’s Against the Grain Theatre; and Bach cantatas and the Mass in B Minor with Bach Choir of Bethlehem, Pennsylvania. In the summer of 2019, she sings as soloist in Mozart’s Mass in C Minor with Cleveland Orchestra at the Blossom Music Festival. In the 2019-20 season, she debuts with Vancouver Symphony Orchestra as soloist in Mozart’s Requiem, with Kansas City Symphony as soloist in Beethoven’s Mass in C Major, and with Portland Baroque Orchestra as soloist in Messiah; and returns to Canadian Opera Company as Gertrude in Hänsel und Gretel, to Music of the Baroque for Bach’s Mass in B Minor, and to Tafelmusik for Messiah.

Ms. Szabó’s 2017-18 season included her Royal Opera House, Covent Garden debut singing Witness 2/Woman 2/Singer 2 for the highly anticipated world premiere of George Benjamin’s Lessons in Love and Violence, and a reprisal of these roles with Dutch National Opera; Second Angel and Marie in Benjamin’s Written on Skin with Opera Philadelphia; the heroine in a double bill performance of Purcell’s Dido and Aeneas and James Rolfe’s Aeneas and Dido with Toronto Masque Theatre; Messiah with Toronto Symphony Orchestra, Brahms’ Alto Rhapsody with Kitchner-Waterloo Symphony; and a triple bill performance of Bruckner’s Te Deum, Brahms’ Schicksalslied, and Beethoven’s Ninth Symphony with Pax Christi Chorale. Her 2016-17 season included singing Angelina in La Cenerentola with Edmonton Opera; soloist in the world premiere of Gary Kulesha’s From the Diary of Virginia Woolf with National Arts Centre Orchestra; Mahler’s Symphony No. 2 with Ottawa Symphony Orchestra; Missa Solemnis with Grand Philharmonic Choir; Messiah with Tafelmusik Baroque Orchestra; Telemann’s Der Tag des Gerichts with Chicago’s Music of the Baroque; a Handel and Vivaldi program with Domaine Forget; a recital at Roy Thomson Hall in collaboration with the Ukrainian Art Song Project; and soloist and actor in short plays by Samuel Beckett titled All But Gone with Canadian Stage.

Ms. Szabó’s engagements in the the 2015-16 season included the role of Ljubica in Ana Sokolović's Svadba-Wedding with San Francisco Opera, and three leading roles (Thisbe/Arianna/Clorinda) in a triple bill production with the Canadian Opera Company. She was soloist in Messiah with Symphony Nova Scotia and Calgary Philharmonic Orchestra, Dean Burr’s The Highwayman with Talisker Players, and soloist in a New Year’s Eve Gala Concert at Roy Thomson Hall in Toronto.

In the summer of 2015 she reprised the role of Judith in Bartok’s Bluebeard’s Castle with Colorado Music Festival. Her 2014-15 season engagements included returns to Canadian Opera Company as The Woman in Schoenberg’s Erwartung, to Calgary Opera as Cherubino in Le nozze di Figaro, to Music of the Baroque Orchestra and Chorus in Bach’s Christmas Oratorio, and to Vancouver Bach Choir as soloist in Mendelssohn’s Elijah. She also was soloist with Toronto Symphony Orchestra in George Benjamin’s Written on Skin, with the Canadian Ukrainian Opera Association in an evening of “Galician Songs by Ukrainian Composers” and in Mendelssohn’s Elijah with the Kingston Symphony Association. 

Her 2013-14 season included Messiah with Grand Philharmonic Choir and Kitchener-Waterloo Symphony, Donna Elvira in Don Giovanni in a return to Vancouver Opera and Ljubica in Ana Sokolovic’s Svabda/Wedding in her Opera Philadelphia debut. She also sang in Janácek’s The Diary of One Who Disappeared in the “Soundings” series at Nasher Sculpture Center, Dallas (TX); Second Harlot in Handel’s Solomon with Les Violons du Roy, under Bernard Labadie; in works by Kurtag, Berio and Boulez with Plural Ensemble (Madrid); as Flight Attendant in Brian Current’s new opera, Airline Icarus, for Soundstreams (Canada); and as soloist in a Mozart evening with the Ottawa Choral Society.

Recent highlights include Musetta in La bohème with Vancouver Opera; Giulietta/Stella in Les contes d’Hoffmann with Edmonton Opera; as soloist in Messiah with the Calgary Philharmonic; debuted with Atlanta Symphony Orchestra in Bach’s Mass in B Minor; with Vancouver Bach Choir in Adams’ El Niño; returned to Toronto Mendelssohn Choir as soloist in Beethoven’s Missa Solemnis; and to Queen of Puddings Music Theatre in a new work by Chris Paul Harmon.

Career highlights include reengagements with Chicago’s Music of the Baroque, under Jane Glover, in Bach’s B Minor Mass; with Canadian Opera Company as Le Pèlerin in Saariaho’s L’Amour de loin; with the Aldeburgh Connection Concert Society for an evening of English song called A Country House Weekend, also the 30th Anniversary Gala concert; her debut with Baltimore Symphony Orchestra as soloist in Messiah; Handel arias at the Grand Teton Music Festival, under Bernard Labadie; Sesto in La clemenza di Tito with Vancouver Opera; Dido in Dido and Aeneas with Music of the Baroque Orchestra and Chorus; Cherubino in Le nozze di Figaro with Stadttheater Klagenfurt; featured soloist in a concert of contemporary song at Cervantino Festival (Mexico); in C’est mon plaisir (the life of Isabella Stewart Gardner) for Aldeburgh Connection Concert Society, and in concert at Royal Conservatory of Music in Toronto; Mahler’s Lieder eines fahrenden Gesellen in a return to Talisker Players Chamber Music; Idamante in Mozart’s Idomeneo, Dorabella in Così fan tutte, Wellgunde in Das Rheingold, and Siegrune in Die Walküre, all with Canadian Opera Company; Susanna in The Ghosts of Versailles andRosalind in The Mines of Sulphur with Wexford Festival Opera ; Meg in Little Women andRosina in Il barbiere di Siviglia with Calgary Opera; soloist in Mozart’s Coronation Mass with Atlanta Symphony, under Roberto Abbado; Messiah and Second Lady in Die Zauberflöte with the Toronto Symphony Orchestra; Hänsel in Hänsel und Gretel with Stadttheater Klagenfurt; Bianca in Mercadante’s Il giuramento with Washington Concert Opera; and a return to Chicago Opera Theater as Judith in Bluebeard’s Castle.

Other successes include role debuts, as Komponist in Ariadne auf Naxos with Stadttheater Klagenfurt, and as Donna Elvira in Don Giovanni in her fourth production with Chicago Opera Theater; her appearances with  Royal Scottish National Orchestra as soloist in Mozart’s Mass in C Minor, L’Orchestre Symphonique de Québec in Bach’s Mass in B Minor, the San Antonio Symphony in Messiah, and the Talisker Players in Toronto for an evening of chamber music; Nerone in Agrippina with L’Opéra de Montréal; Wellgunde in Das Rheingold, Nancy in Albert Herring, and Musetta in La bohème, all with Canadian Opera Company; the Countess in Le nozze di Figaro with Chicago Opera Theater; title role in Charpentier’s Medée with Le Concert Spirituel in Paris and Rouen; her debut with Chicago Opera Theater as Ottavia in L’incoronazione di Poppea; Dorabella in Così fan tutte at Mostly Mozart Festival; Paride in Gluck’s Paride ed Elena at the Caramoor Festival; Ruggiero in Alcina with Les Violons du Roy; and her debut as Rosina with L’Opéra de Québec. She has appeared on several occasions with Opera Atelier and toured Singapore performing the title role in Iphigénie en Tauride. As a member of Canadian Opera Company’s Ensemble Studio, Ms. Szabó made her European debut in Amsterdam as the title role in Britten’s The Rape of Lucretia.

Krisztina Szabó is a frequent performer of recital, concert and chamber repertoire. She performed as soloist in Beethoven's Missa Solemnis and Mendelssohn's Elijah with Toronto Mendelssohn Choir, in Verdi's Requiem at the Elora Festival, in Haydn's cantata Arianna a Naxos with Les Violons du Roy in its United States tour, in staged performances of Bach's St. Matthew Passion at Brooklyn Academy of Music, and in the Mozart Requiem with the Oregon Symphony. In recital, she has appeared with Ravinia Festival, Aldeburgh Connection, Music Toronto, and Off Centre Music Salon. In addition, she has performed with Symphony Nova Scotia, de Lanaudière Festival, Calgary Philharmonic, Orchestra London, and Toronto Operetta Theatre.

Audiences are able to see Ms. Szabó as Zerlina in the Rhombus Media film Don Giovanni: Leporello's Revenge, appearing with renowned Russian baritone Dmitri Hvorostovsky, and hear her on the accompanying soundtrack released by CBC Records. She has recorded a four-part series of art songs with the Canadian Ukrainian Opera Association, and Four Songs of Tagore, by Ippolitov-Ivanov, with the Talisker Players.


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