Reviews Archive

“Of the soloists only mezzo-soprano Krisztina Szabó, substituting at the last minute, captured the dignity of the text.”
Montreal Gazette – Handel Messiah Les Violons du Roy, December 2011

“Mezzo-soprano Krisztina Szabo has a strong, characterful 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.”
Calgary Herald – Handel Messiah, Calgary Philharmonic, December 2012

“Mezzo-soprano Krisztina Szabó’s Musetta is vividly sung and charismatic too.”
– The Georgia Straight (October 2012)

“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.”
– Vancouver Weekly (October 2012)

“Krisztina Szabo’s Pilgrim was in rich and flexible voice
– “Definitely The Opera”  (February 2012)

“Mezzo-Soprano Krisztina Szabo has a remarkable ability to manipulate the colour and timbre of her voice and I especially appreciated the chesty edge she made use of in her particularly low pitches.”
– “Mooney on Theatre” (February 2012)

Cherubino (May 2011)

“Krisztina Szabó singt und spielt den Cherubino wunderbar”
Translation: “Krisztina Szabo sang and acted the role of Cherubino fantastically.” 
– Kleine Zeitung, May 2011

“Neben dem Grafen zu Recht mit dem meisten Applaus bedacht der jugendlich stürmische Cherubino (Krisztina Szabó)”
Translation: “After the Count, and rightly so, the most applause was for the young, impetuous Cherubino of Krisztina Szabo”
– Die Presse, May 2011

“Einzig Krisztina Szabó als Cherubino vermag mit ihrem klaren, einnehmenden mezzo und schräger Körpersprache wirklich zu überzeugen.”
Translation: ” Only Krisztina Szabó as Cherubino with her clear mezzo and expressively humorous body language was truly the best.”
– Kronen Zeitung, May 2011

Ottawa Chamber Music Festival (July 2011)

“Where sheer beauty is concerned, nothing quite matched Psalm 137, By the Waters of Babylon. It is scored for mezzo-soprano, female chorus, violin, harp and organ. Mezzo Krisztina Szabó’s singing was ravishing.”
– Ottawa Citizen, July 2011

“Finally, mezzo-soprano Krisztina Szabo joined TorQ for a performance of György Ligeti’s Síppal, dobbal, nádihegedüvel (With Pipes, Drums, Fiddles) (2000), a very varied piece indeed. At times Szabo’s voice, which took on many different shades over the 7 songs, reminded me of Björk.”
– Ottawa Citizen Blog, July 2011

“Even more of a standout was Krisztina Szabó’s Sesto… Blessed with a honeyed mezzo, she made her pants role real and tormented”
– The Georgia Straight, Vancouver

“Szabo’s sensitive and intelligent singing brilliantly negotiated the coloratura passages and explored the real pathos of Sesto’s plight.”
– Review Vancouver

“(Krisztina Szabo) handles the part with exceptional ability, combining refined work with the technique required to do justice to an exceptional part.”
– Vancouver Sun

“Krisztina Szabó… is one of the great singing actresses of her generation.”
– Paula Citron, Classical 96.3FM: Iphigénie en Tauride (Opera Atelier)

“Mezzo-soprano Krisztina Szabó made a striking Dido. Her rich, dark timbre and fullness of sound suited the imperious queen’s music. And she went from woman-scorned fury to desolate pathos (in the famous lament, “When I am laid in earth”) with absolute security.”
– Chicago Tribune

“Szabó as Dido… (was) superb, paying as much attention to the opera’s dramatic requirements as to shaping beautiful sounds. Szabó’s mezzo was strong and ringing, with a dusky edge in the low register and golden highlights near the top.”
– Chicago Classical Review

“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 ‘Non temer amato bene.'”
– Opera News

“Krisztina Szabó as Idamante really stood outShe phrases beautifully.  She gives the words space.  She knows how to give a feather light touch to a conventional Baroque phrase, and she can give some manly grit to a pants role when its needed.”
– Epoch Times, May 2010

“Krisztina Szabó as Idamante was note perfect and captivating musically as well as dramatically.”
– Toronto Star, May 2010

“Mezzo-soprano, Krisztina Szabó has a gorgeous voice and multi-faceted dramatic talent
– Art & Culture Maven. (Dark Star Requiem), June 2010

“As Ruggiero who submits to Alcina’s charm then frees himself, the mezzo-soprano Krisztina Szabó advances with the determination of an athlete, delivering vocalizations with an almost indecent ease which transform themselves into a torrent, sweeping everything along in its current. Add to this class, taste, and finesse and you are in the presence of an artist of great distinction.”
– Le Soleil, Québec City: Alcina (Les Violons du Roy)

“Krisztina Szabó stand als Rosalind im Mittelpunkt der Besetzung.  Mit ihrem Charisma versprühenden Mezzosopran und knisternden Zwischentönen sowie sicheren Höhen wusste sie sich in der ungemein fassettenreichen Partie, nicht zuletzt in ihrem gelwaltigen Schlussmonolog durchzusetzen”
“Krisztina Szabó, with her ever present charisma, this fiery mezzo-soprano found the nuance between the written notes. As well as confidently executed high notes, Ms.Szabó succeeded to shine in this extremely  colourful and musically accomplished ensemble; her mastery of the final demanding monologue was proof of her excellence.”
– Opernglas: The Mines of Sulphur (Wexford Festival Operal)

“Krisztina Szabó’s Komponist is a great achievement. Not only does her beautiful [mezzo] soprano make you listen attentively, but also the despair of the composer is so clearly expressed.”
– Kärntner Nachrichten: Ariadne auf Naxos (Stadttheater Klagenfurt)

“Krisztina Szabó stole every scene with her powerful, mahogany voice and deeply poignant immersion in the empress’ plight.”
– Chicago Tribune: L’incoronazione di Poppea (Chicago Opera Theater)

“There was a particularly strong on-stage chemistry between the Guglielmo (Russell Braun) and the Dorabella (Krisztina Szabó)… Szabo sang Dorabella with finesse and subtlety.”
-National Post:  Cosi fan tutte (Canadian Opera Company)

“The soloist in three arias from the operas was the mezzo-soprano Krisztina Szabó, who combined dramatic intensity with breathtaking vocal technique.”
– The Oregonian: Handel at Christmas  (Oregon Symphony)

As the Queen of the Fairies in The
Midnight Court
with Queen of Puddings Music Theatre:

“Szabó performed the Queen’s role with a fine, clear tone and a
glassy grace that always had an undercurrent of menace .”
– Globe and Mail, Toronto, June 2005

As Contessa in Le nozze di
with Chicago Opera Theater:

“Its unusual to have 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 2
great arias, which few higher-voiced singers have rendered so beautifully”
– Chicago Tribune, May 2005

“Soprano Krisztina Szabó is dazzling as the Countess – and
heartbreaking at the start of Act Two, when she grieves her lost happiness…”
– Chicago Reader, May 2005

As Nerone in L’Opéra de Montréal’s Agrippina:

“Krisztina Szabó injected a touch of steel into her portrayal of
Nerone and handled the melismatic writing particularly well.”
– Opera News, March 2005

“Szabó, in the role of the young and petulant Nero, sang with such
intelligent proportion that she was a delight throughout.”
– Globe and Mail, Toronto, March 2005

As Cleopatra in Sartorio’s Giulio Cesare with the
Canadian Opera Company:

“Szabó is a confident singer, with a rich sound and the flexibility
and range to easily encompass Sartorio’s writing. She also has the ability to bring out
the shifting emotions of the characters she sings, here growing Cleopatra from a vamp to a
very determined protagonist as the opera progressed.”
– Opera Now, May/June 2002

“Krisztina Szabó (Cleopatra) returns to give a magnificent
performance. Her mezzo voice has grown so rich and clear and her presence so commanding
she is vocally and dramatically seductive throughout.”
– Stage Door, December 2001

“As so often happens, it was the singers willing to
take the biggest chances who fared best. Krisztina Szabó was a powerful Cleopatra,
voluptuous of voice and bearing.”
– The Globe and Mail, Toronto, December, 2001

As Lola in the Canadian Opera Company’s
production of Cavalleria Rusticana:

“…Krisztina Szabó impersonated the seductive
Lola so convincingly from a visual as well as vocal point of view that one couldn’t help
wishing her role larger…”
– The Toronto Star, September, 2001

“The strongest musical contributions were
from…Krisztina Szabó’s luscious Lola…”
– The Globe and Mail, Toronto, September, 2001