AUDREY BABCOCK: PRESS KIT

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The Critics…

"...character-defining...a beautiful and sexy young singing actress admirably willing to take physical and dramatic risks..."
- The San Diego Union-Tribune

"...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

 “Audrey Babcock, in her UFOC debut, 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. One could only hope this is not her last performance in Logan."
- The Statesman

 “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”
Washington Post (Washington Concert Opera Cav/Tab) 

“…[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 

 “…Ms. Babcock…propped up against a wall…decked out in a full length skirt, a scoop neck top and movie star shades…reciting [her] tale of woe…with the Gotham Chamber Opera…”
               -The New York Times

"Audrey J. Babcock was witty and funny as Baba the Turk.”
- Baltimore Sun

 “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."
- Thomas Harrison, Mobile Register 2005

  Wolf Trap Opera – Sweeney Todd“As Mrs. Lovett, mezzo Audrey Babcock as a strutting, comic sensation…”
-T.L. Ponick, The Washington Times

  Madame Butterfly“Babcock, a mezzo-soprano, is a passionate Suzuki. Butterfly's servant wants her mistress to be happy. Babcock's beauty and arresting vocal range is evident when she and Eickel are together in the opera's most beautiful moment, when the two women prepare the house for Pinkerton's return."
- Mobile Opera