Genre-bending mezzo-soprano Audrey Babcock has captivated audiences worldwide with her mesmerizing performances and versatile vocal and dramatic range, establishing herself as a compelling interpreter in the world of opera. Her exceptional ability to embody character and her passion for craft have earned her a place among the most esteemed vocalists of her generation. Engagements for the 2023-2024 season include her role début as Amneris in Aida and Mrs. Gibbs in Ned Rorem’s Our Town with Utah Festival, Flora in Opera Omaha’s La Traviata, and her début as Santuzza in Cavalleria rusticana.
Dedicated to contemporary works, Audrey recently débuted the roles of Toledo in Redler/Dye’s new work The Falling and Rising with Arizona Opera and Opera Carolina, Nica in Yardbirdwith Seattle Opera, and Eva in An American Dream with Opera Santa Barbara, and she has worked closely with Pulitzer Prize-winning composers Ellen Reid and Jorge Sosa. As a producer, writer, and creator, her projects Lily; her life, his music — the story of a queer Jewish heroine who escapes Nazi Germany, told through the music of Kurt Weill — and Beyond Carmen, with flamenco guitarist Andres Vadin, provide audiences an evening of compelling, thought-provoking storytelling with sensational presentation. Additional premieres include Tobias Picker’s Thérèse Raquin (NY premiere — Dicapo Opera), With Blood, With Ink (world premiere — Fort Worth Opera), La Reina (American Lyric Theater and Prototype Festival), The Poe Project (American Lyric Theater), and Winter’s Tale (Prototype Festival). [read more...]
“... 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.”
"... 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.””
"... 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."
"... 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.”
"... 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.”