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The Critics…
"Mezzo soprano Audrey Babcock commands the stage...a vocal and dramatic knockout..." - The Salt Lake Tribune “Mezzo soprano Audrey Babcock, as the manipulative and cunning Maddalena, very nearly steals the show in her third act appearance, giving audiences a mere glimpse of what we can expect from her Carmen, the centerpiece of Nashville Opera's 30th Anniversary Season: She gives a stunningly full-throated performance of the sexy and sensuous Maddalena and the senses reel in anticipation of her Carmen.” - Broadway World / Opera World “Audrey Babcock's performance as Carmen was a spellbinding tour de force...From the moment she took the stage in a scarlet top…her self-assured characterization was mesmerizing...her sensuous body language spoke volumes. Babcock's caramel-hued mezzo was a pleasure…Her supple tones caressed the notes…radiating earthy allure." - The Salt Lake Tribune "...masterfully portrayed, undoubtedly powerful...Babcock's emotionally volatile acting is electric. Her Jo - unruly, impetuous and selfish - is at all times believable, and the audience finds itself empathizing with her sufferings, laughing at her jests, and encouraging her in her successes." - The Post Standard "...character-defining...a beautiful and sexy young singing actress admirably willing to take physical and dramatic risks..." - The San Diego Union-Tribune "Babcock, a lush mezzo-soprano, commanded the stage from her first appearance, and her voice on the Habanera, Carmen’s iconic aria, was pleasantly round and inviting. Her Carmen was reminiscent of the pop star Madonna in her Truth-or-Dare years, swiveling hips and jutting collarbones that screamed sex. It’s hard, one would imagine, to be sexy and funny – all with your hands literally tied behind your back. But Babcock pulled it off. And her voice, was as smooth and strong as a silk scarf." - Express News, San Antonio "...there was no doubt about who owned the stage...as Carmen, she was in character at all times, her eyes smoldering, her voice filled with colors as the smallest of nuances generated fine degrees of meaning. She was the candle around which all other characters, male and female, circled like moths." - The Classical New Jersey Society "...[Babcock’s] Aldonza/Dulcinea is gritty and real in her anger, and then in her tenderness toward Quixote. Vocally, she is right on the money, and physically, she is up to this very demanding role.” - Herald Journal, Logan Utah |
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- The Tenneseean “Audrey Babcock...is wonderful as Aldonza, with strong vocals and even stronger emotions for her critical character. It was hard for patrons to take their ears and eyes off of her." - The Statesman, Utah “Audrey Babcock's dusky mezzo-soprano and sexy theatricality lit up the stage as Maddalena.” - The Miami Herald “Audrey Babcock’s short appearances as Lola gave a promising example of the fine things we can expect from this young mezzo.” - Ionarts “Audrey Babcock was a smoldering Lola!” - The Washington Post “…[Ms. Babcock’s] diction is excellent and…she used language with extraordinary power and dramatic impact…[Kurt] Weill’s brashness and Babcock’s dramatic strengths are a perfect match." - Washington Post, Recital at The Phillips Collection, DC “Audrey Babcock, her great beauty no longer concealed beneath Suzuki makeup, was a stunning presence as she performed with the chorus in the "Nel giardin del bello" from "Don Carlo." The mezzo also pulled off the tension-laced Radames-Amneris duet, "Gia sacerdoti adunansi," from "Aida;" later she returned for a star turn in the "Stride la vampa!" from "Il Trovatore." - Mobile Register “As Mrs. Lovett [Sweeney Todd] mezzo Audrey Babcock is a strutting, comic sensation…” - The Washington Times “A passionate Suzuki...Babcock's beauty and arresting vocal range is evident..." - Mobile Opera |
