CRITICAL ACCLAIM

“... simply fabulous…” – Cache Valley Daily

Beyond Carmen – In Beyond Carmen – Ms. Babcock’s pas de deux with classical guitarist Andrés Vadin – she delivered a sultry, beguiling, seductive vocal performance at the Ellen Eccles Theatre on July 26. Ms. Babcock’s singing was simply fabulous. . . Ms. Babcock delivered stunning vocals as she explored Ladino folk songs and lullabys, all leading up to the Bizet’s familiar “Habanera,” followed by a taste of flamenco as an encore. It was a spellbinding experience.”

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"...this soprano has a voice and a presence that cannot be denied..." – Front Row Reviewers 

Aida – "Babcock as the Egyptian princess Amneris is strong and assertive and this soprano has a voice and a presence that cannot be denied...Babcock shimmers—she is absolutely stunning." 

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"... a moving, haunting performance…” – San Diego Union Tribune

Maria de Buenos Aires – “As Maria, mezzo-soprano Audrey Babcock gives a moving, haunting performance and her dusky, flexible voice soars, especially in the famous aria “Yo soy Maria.””

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"... Babcock's Carmen simmered with sensuality..." – Minneapolis Star-Tribune

Carmen – “Sometimes opera performances are dominated by a single singer. That was the case Friday evening …Babcock's Carmen simmered with sensuality. But her proud, principled embrace of the bohemian lifestyle — and her refusal to be trammeled by the men in her life — lent ballast to the sex kitten manipulations. Seductive? Yes, but Babcock was a thinking Carmen, too, a woman who knew her worth and had no intention of letting it be diminished. Vocally Babcock had the part nailed, too. Light and playful in numbers such as the Act 1 set-piece "Habanera," her voice expanded thrillingly in the later confrontations with Don José, while never losing a satisfying bloom and plenitude."

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"... a stunningly full-throated performance..." – Broadway World

Rigoletto – “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.”

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"... a well projected, amber-hued tone..." – Opera News

Little Women – “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.”

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"Mezzo-soprano Audrey Babcock ate the role of Augusta Tabor with a spoon." – Parterre Box

Ballad of the Baby Doe – "Mezzo-soprano Audrey Babcock ate the role of Augusta Tabor with a spoon. She relished every glorious character moment this role had to offer her and keenly took thorough advantage of all of them...Vocally, she was extremely strong, even in Moore’s most taxing writing of the role for the ‘Leadville Fricka.’ Plus, if she ever gets to sing Strauss’s Klytemnestra, she’s already got the perfect gown and I will insist she take it out of her closet for an encore."