Donna Elvira, Don Giovanni

“Audrey Babcock, singing the role of Carmen for perhaps her twelfth opera company, submitted an undeniably strong claim for defining how we see that character. Dramatically, Babcock exuded an obvious comfort level with the role that manifested itself as unconstrained fluidity and confidence in dance and movement–her entrances were real theatrical entrances; her body language projected sexuality and seduction. On a visible level, the stage picture that she projected was a masterful and enthralling description of sultriness and dominance. Vocally, her mezzo-soprano was everything one could want in Carmensmooth, velvety, and sensually rich, but with an edge of power and heat that threatened to erupt like a volcano without warning. Her beautifully saucy Act I Habanera defined the character and the later Seguidilla proved her power of seduction.

-Arts Knoxville

“The big hit is Babcock's singing of the famous "Habanera" aria in Act I. If one might have wished for a little more gypsy passion, Babcock's singing delivers the goods big time."

-Knoxville News Sentinel

Florentine Opera

"Mezzo Audrey Babcock was capt

ivating in the title role. She sang with an enormous, relaxed sound that was full of fire and color, yet never edgy or brassy. Her interpretations of Bizet's arias were full of nuance and detail that drew the audience to

her insightful take on the character. Babcock brought dignity, pride and strength to the role, convincingly creating not a victim of times and circumstances, but a determined, pragmatic survivor who has the strength to face her fate with without flinching."

-JS Online

Nashville Opera

“Babcock so completely captures Carmen in look, gesture and voice that one stays easily and willingly under her spell all evening. Her character’s famed Act I “Habanera” entrance is tough to pull off given the knowledge and expectations many opera patrons have for it. It’s no problem for Babcock, though, as her full-flavored voice and sultry presence lustily convey Carmen’s fiery persona.”

-The Tennessean

“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. Babcock sang the "Habanera" with understated vocal intensity, but her sensuous body language spoke volumes. Babcock's caramel-hued mezzo was a pleasure...Her supple tones caressed the notes...radiating earthy allure.”

-Salt Lake Tribune


Carmen is winner, thanks to spicy, talented Babcock. From the rousing, recognizable prelude, Carmen was a treat. And from moment she arrived on stage, Babcock was the beguiling Carmen. With a sly smile–almost a smirk—Carmen showed she

knew she was the apple of attention, the star of Seville. So it was Babcock. Her performance seemed almost effortless...”

-Aggie Town Square

Maddalena, Rigoletto

Opera Omaha

"Audrey Babcock’s full-bodied mezzo was complemented by her vivacious portrayal of the temptress Maddalena."

-Opera News

Nashville Opera

“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

Florida Grand Opera

“Audrey Babcock’s dusky Mezzo-Soprano and sexy theatricality lit up the stage as Maddalena.”

-Miami Herald


Man of LaMancha

Lyric Opera of San Diego

“The vocal strength is elsewhere–in the dynamic shadings of mezzo-soprano Audrey Babcock's character-defining “Aldonza,” her insistent “It's All the Same” and her lyrical “Dulcinea”...she's a beautiful and sexy young singing actress admirably willing to take physical and dramatic risks.”

-The San Diego Union-Tribune


Utah Festival Opera

“[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.

-The Herald Journal

Countess Maria Luisa, With Blood With Ink

Fort Worth Opera

“Audrey Babcock stood out as the imperious Countess”

-Opera News

"Audrey Babcock practically steals the show as the aristocratic María Luisa."

-Dallas Morning News

Jo, Little Women


Utah Opera

“Mezzo-soprano Audrey Babcock commands the Capitol Theatre stage in the central role of Jo. Her performance Saturday was

a vocal and dramatic knockout.”

-Salt Lake Tribune

“Babcock won empathy as the intractable member of the March family’s four sisters... She deftly negotiated the score’s angular melodies with incisive pitch, supple coloratura and a well projected, amber-hued tone.”

-Opera News


Syracuse Opera

“... mezzo-soprano Audrey Babcock, who delivered a rambunctious performance as tomboyish, headstrong, hardheaded Jo. Babcock’s Jo brimmed with an indomitable Yankee spirit that intensified the character’s losses when they inevitably came.“Couldn’t I Unbake the Breads” was the perfect aria for her. Most effective was Babcock’s transition to a subdued Jo, vulnerable to Aunt March's (Erin Elizabeth Smith) pressure to live a solitary life.”

-The Examiner

“Jo, masterfully portrayed by mezzo-soprano Audrey Babcock...Babcock's emotionally volatile acting performance 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

Secretary, The Consul

New Jersey Opera

Imperious but not heartless as The Secretary, Audrey Babcock stood out with a radiant mezzo-soprano and a fittingly tart sense of humor”

-The Star Ledger

Background Photo Credit: Cory Weaver