Herrera: Critical Acclaim

La Vida Breve, Cincinatti Symphony, Cincinatti, Ohio

“As the doomed Gypsy, mezzo-soprano Nancy Fabiola Herrera inhabited her role with passion and fiery emotion. Her stirring folk aria, “Let those who laugh live”, was tinged with poignancy, and she navigated its phrases with agility. As the opera progressed, the pain of her betrayal was palpable and she communicated with a powerful voice, able to soar over the full orchestra with ease.”
Janelle Gelfand, Cincinatti.com, April 6, 2016

Carmen, Ȏpera Menorca, Menorca, Spain

Nancy Fabiola Herrera embodies the character of the untamed and seductive gypsy with her voice and physical presence; her voice is flexible throughout its range and the extremes of great emotion – sensual in the Habanera, vivacious in the Sequidilla, and mysterious in the Card Scene. Hers is a voice with the warm mezzo color and seductive tone necessary in the Sevillian cigar factory, and last Friday with abundant lush, golden phrases, Nancy Fabiola seduced the audience.”
Pere Bujosa, Es Diari, May 31, 2015

Nancy Fabiola Herrera is Carmen, literally. Rarely can be seen on a stage a character so perfectly embodied by his/her interpreter. Without registration problems, her voice sounds sensual and suggestive in the Habanera and Seguidilla, and forceful and dramatic in the Card Scene and in the last bars of the Fourth Act when she reminds Don Jose that she has lived free and free she will die.”
Edu Cendán, MenorcaDiario.es, May 31, 2015

“A magical and Spanish [production of] Carmen…with the beautiful, experienced, and perfect Carmen of the Canarian mezzo Nancy Fabiola Herrera.”
Pablo Meléndez-Haddad, ABC.es, Edicion Cataluña, May 30, 2015

Samson et Dalila, Opera de Oviedo, Oviedo, Spain

“A superb Nancy Herrera took the starring role, appearing as an extremely sensual and powerful Dalila, owner of the scene and with full control over her voice, knowing how to dose to reach full guarantees at the end of the opera, and especially offering a second act of remembrance, both in the duet with Carlos Alvarez as in her interpretation of ‘Mon coeur a ta voix s’ouvre’, demonstrating the rich nuances of such a multifaceted role, with great ambiguity in her feelings “.
Alejandro G. Villalibre, OperaWorld, January 30, 2015

Florencia en el Amazonas, Los Angeles Opera, Los Angeles, CA

Mezzo Nancy Fabiola Herrera as Paula performs with her passionate and nuanced voice the most moving aria in the opera when she thinks Alvaro has been lost at sea. There is a truth, both musically and dramatically, to her sudden awareness that pride has built the wall between them.
Jane Rosenberg, seenandheard-international.com, November 24, 2014

Carmen, Opera Australia, Melbourne

OA’s Carmen was dramatic and full-bodied while in its quieter deeper moments, it was full of empathy, wonderful warmth and compassion projected so handsomely by its incredible star, who captured the essence of a very complex woman. This distinguished opera of love and life revealed not only the courage of its composer, but also that of its true Queen of the night, the amazing Spanish mezzo-soprano Nancy Fabiola Herrera. Her performance was delivered with great conviction as she convinced those watching, that she had that often indefinable, elusive quality that cannot help but charm … je ne sais quoi. She presented magnificently, inspiring the cast around her who performed at the pinnacle of artistic operatic achievement. Her L’amour est un oiseau rebelle, or ‘Love is a rebellious bird’ proved that Nancy Fabiola Herrera was Carmen. She inhabited the role to such an extent the audience were entirely persuaded that she was. They were captivated by the brilliance, elegance, earthiness and splendour of her performance. She was gorgeous – dangerous, dirty dancing, stamping her feet and tossing her untamed hair with a purpose and passion that astounded everyone. Her glorious voice was full of power, with rich fruity earthy tones that excelled above all expectations in the high register, ensuring that sparks would, and did fly.
Carolyn McDowall, The Culture Concept Circle, May 15, 2014

…leading lady Nancy Fabiola Herrera lists previous performances as Carmen in 12 world cities. Projecting a joyful, confident tone, Herrera lights up the stage, generously complementing the work of her co-stars with no attempt to overshadow them. Herrera’s deliciously fruity mezzo-soprano voice is comfortable in the full range of the score, and her flair for Spanish dancing and castanets adds another layer of enjoyment to her performance.
Simon Parris, Theatre People, May 15, 2014

The acting…is top quality – especially Nancy Fabiola Herrera in the title role. I’ve never seen Carmen better acted…with wonderful Spanish fire and flounce, and imbuing the devil-may-care attitude and passionate self-will with a real sense of integrity.
Barney Zwartz, The Sydney Morning Herald, May 16, 2014

Carmen, Opera Australia, Sydney

If this production seems to smoulder, it does so particularly because its two main protagonists sing with an intensity that burns into the soul. Nancy Fabiola Herrera invests Carmen with sensuous magnetism that attracts an almost hypnotic attention. She is danger personified, and those she attracts are playing with fire. Her allure rests not only in her charismatic stage presence but in the richness and warmth of a voice which is wonderfully even across its range yet capable of a wide spectrum of colours that perfectly match mood with text.
David Vance, The Sydney Morning Herald, February 4, 2014

La Vida Breve, Toulouse

The voice cast is dominated, as it should, by Salud that burns inside. Nancy Fabiola Herrera truly embodies in her voice as by its attitude, the young gypsy abandoned. She shows a load of tears in her song of pain, while banning excessive sobbing of some verismo singers. The warm and perfectly projected mezzo-soprano timbre goes perfectly sound the richness of a generous orchestra.
Serge Chauzy, Classic Toulouse, June 23, 2013

La Vida Breve, Toulouse

As Salud, the gypsy girl victim of social conventions, Spanish mezzo-soprano Nancy Fabiola Herrera unites the beauty of timbre, control the line sensitivity is all on edge. Supported by the cello, her last aria is moving. The room praised her long and very warm (almost ten minute reminders) that “Via breve” is thrilling and poignant. Memorable.
Anne-Marie Chouchan, LaDepeche.fr, June 24, 2013

Carmen, Bavarian State Opera, Munich

Nancy Fabiola Herrera performed the title role of Carmen for her debut at the Bavarian State Opera and was cheered vigorously. It’s time for a Carmen, which has both a profound, rich depth and a warm top and can seemlessly combine the two registers together. This is truly an event of visual aspects. When she lifts her chin only or even flirtatiously sways in the sides, then men become male. This Carmen dominates and seduces and radiates from the dignity and freedom. That as Lillas Pastia she even herself skillfully plays the castanets is a welcome addition.
Jakobine Kempkens, Der Neue Merker, February 2, 2013

La Vida Breve, Boston Symphony Orchestra, Tanglewood

Nancy Fabiola Herrera as Salud sang with abundant quantities of rich tone and dramatic focus to match.
Jeremy Eichler, The Boston Globe, August 28, 2012

Rigoletto, LA Philharmonic

Nancy Fabiola Herrera made a great Maddalena, a mezzo with a sensuous growl that could melt the pants off the most resistant male.
Christian Hertzog, LA Weekly, August 13, 2012

Nancy Fabiola Herrera’s properly seductive Maddalena…
Mark Swed, LA Times, August 14, 2012

Carmen, Las Palmas

Describing Nancy Fabiola Herrera as the lead, who was debuting the role in her homeland, would mean repeating what has already been said as it is well known in the world of opera that hers is the Carmen par excellence. This she proved once again with her vocal perfection and her extraordinary stage presence.
Cayetano Sánchez, Ópera Actual, March 2012

The Gran Canarian Nancy Fabiola Herrera, who has been sent all over the world to perform her pet role, was finally able to sing it here. Her work is extraordinary in all ways: vocal, musical, dramatic, she pays real attention to detail in the dramatic composition, from the wicked seduction to the final tragedy, passing through extrovert vitality, the physical game of frivolity as well as the Andalucian dance choreography. The tessitura of the character is ideal for her mezzo-soprano tone, which sounds centered, warm and unassailable in all registers. A stellar performance, honed to perfection.
G. García Alcalde, La Provincia, March 2012

Nancy Fabiola Herrera, who hails from the Canary Islands, headed this predominantly Spanish cast. Her fusion with the visceral gypsy who lends her name to this Bizet opera is absolute. It would be difficult to find a more accomplished performance: gestures, looks, graceful dancing, seductiveness, wild but never vulgar, added to the beauty of her tone with its sensual colours, these are elements that explain why she has had such success internationally in this role, which she has made her own.
Leopoldo Rojas-O’Donnell, Scherzo, March 2012

Carmen, Teatro Cervantes, Malaga

Nancy Fabiola Herrera, who has probably taken up the torch of the great Spanish mezzos who have made Bizet´s opera famous, literally made the Malaga audience fall in love with her, igniting most of their applause until they gave her a standing ovation. A singer full of colour, with impeccable phrasing and clear diction, rounded, very generous in the high register, not at all forced and who complements this with her stage presence.
Alejandro Fernández, Málaga Música, June 2010

L’Italiana in Algeri, Teatro Pérez Galdós, Las Palmas de Gran Canaria

Nancy Fabiola Herrera sang the title role sumptuously, with dazzling agility, daring high notes, good phrasing of the melody and star quality on stage.
G. García Alcalde, La Provincia, May 2010

Carmen, Arena di Verona

It was a production that had been eagerly awaited for three particular reasons: the presence of Placido Domingo, this time as conductor, 40 years after his Arena debut; the casting of Nancy Fabiola Herrera in the title role (only the second authentically Spanish Carmen the Arena has seen, after Carmen Gonzales); and Franco Zeffirelli’s staging. . . Herrera was making her second appearance in Italy (she sang Carmen at Caracalla in 2003), and lived up to her reputation. She is a strikingly attractive woman, and right from the outset she impressed with both her singing and her acting.
Opera, October 2009

Roberto Devereux, Ópera de Las Palmas

Among the performers was the physically and vocally gorgeous, Nancy Fabiola Herrera as Sarah [sic]. This mezzosoprano from the Canary Islands has a secure technique and a voice of undeniable beauty. She and the soprano sang in perfect timbre, and she was particularly wonderful in the duets with the tenor.
Andrea Merli, L’Opera, April 2009

Roberto Devereux, Las Palmas Opera

Nancy Fabiola Herrera excelled in a most impressive manner, with her high mezzo register reaching the high notes with ease, and although there are heavier roles in her repertoire, she demonstrated consistent and controlled purity of her coloratura technique. She has magnificent style in this and in other areas; Herrera gives a splendid lesson in great singing, with her characteristic warmth, her communication, and a theatrical language which is the more effective for being direct and intense. She has perfect expression throughout the opera, with nuances of character, voice, and gestures, which confirm her as a professional and artist of the first order.
G. García Alcalde, La Provincia, March 2009

Concert, Costa Rica

The magnificent Canarian mezzosoprano Nancy Fabiola Herrera, performed an impeccable Habanera from Bizet’s Carmen, with exquisite taste and elegant French diction, as well as an excellent performance of the aria and duet from Adriana Lecouvreur. In the Zarzuela section, Nancy Herrera was thrilling in the well- known De España vengo from El Niño Judío, by Luna, as well as in the duet between Vidal and Luisa Fernanda from the zarzuela of the same name by Moreno Torroba, and again with Plácido Domingo in the humorous Zapateado of La Tarántula, which she performed with competence and style.
Gonzalo Castellón, Diario Nación, November 2008

La vida breve,Teatro de La Maestranza, Sevilla

Nancy Fabiola Herrera’s voice is one of enrapturing beauty, with a core that disarms you with its warmth and depth. With her seamless phrasing, and attention to the smallest details, her understated acting moves you.
Andrés Moreno, Diario de Sevilla, September 2008

Carmen, Quincena musical de San Sebastián

Nancy Fabiola performed an impeccable Carmen; with beefy voice, precise articulation, and great musical expression.
El Diario Vasco, August 2008

Nancy Fabiola Herrera’s “Carmen” was terrific; sensual, with vocal warmth, and extremely expressive musically.
Jorge de Persia, La Vanguardia, August 2008

Physically and vocally, Nancy Fabiola Herrera nails Bizet’s CARMEN. Her dark voice, with her full and generous high notes, made her a believable Carmen that grew throughout the performance.
Iñigo Arbiza, Noticias de Guipúzcoa, August 2008

Without a doubt, the role of Carmen performed by Nancy Fabiola Herrera was the most splendid performance in this opera. From her first appearance in the Act 1 “Habanera,” the famous mezzosoprano showed an artist very much in tune with Bizet’s music. Her excellent singing throughout, and her tremendous dramatic presence, scaled all the heights of this work.
J. A. Z., Begira Kultura, August 2008

Nancy Fabiola Herrera is a Carmen who tours the world proving that she knows how to make a statement; with plenty of voice to draw on in this role and a very good stage presence, she makes it entirely believable.
Alberto González Lapuente, ABC, August 2008

Concierto de Zarzuela, Cap Roig

Nancy Fabiola Herrera won the audience over with her delightful Tango de la Menegilda, from La Gran Vía; with just the right grace and sparkle, she caused a sensation with the Romanza from La Tempranica.
Javier Pérez Senz, El País, August 2008

The appearance of the seductive Nancy Fabiola Herrera was very much acclaimed in the Tango de la Menegilda (with her shawl as chulapona), and the magnificent duet with Pons in En mi tierra extremeña.
César López Rosell, El Periódico de Catalunya, August 2008

Carmen, Plaza de Toros El Bibio, Gijón

Nancy Herrera, born for the role of Carmen, showed once again why she is considered the best mezzo-soprano in the world today interpreting this role.
Rafael Navas, Diario de Jerez, July 2008

Nancy Fabiola Herrera sang with a voice of deep, dark tonalities, brilliant nuances, and an interpretation so seductive that the enthusiastic public repeatedly interrupted her performance with applause.
Alberto Piquero, El Comercio Digital, July 2008

Carmen, Covent Garden, London

Both the Spanish mezzo Nancy Fabiola Herrera and the Argentine tenor Marcelo Alvarez have the measure of their relationship – they have sung the roles together already at the Met. Herrera’s high vocal intelligence is the equal of the cunning of this Carmen. Her words are threaded in taut, sprung rhythms within an entirely secure and eloquent vocal range.
Hilary Finch, The Times, March 2008

Nancy Fabiola Herrera has an instinctive feel for the title role – and she plays the castanets better than any Carmen I have ever heard. Her act one habanera revealed an exotic lower register that too many modern Carmens lack and is worth the price of admission alone.
Martin Kettle, The Guardian, March 2008

…the Spanish-American mezzo-soprano Nancy Fabiola Herrera. She plays her as a brassy glamour-puss of a gypsy enchantress, without ever suggesting the darker and more fatalistic side to her character.
Rupert Christiansen, The Telegraph, March 2008

There was a standing ovation in the stalls of Covent Garden for Nancy Fabiola Herrera, performing as a passionate and voluptuous Carmen. In London there was a certain hunger to see a truly latin Carmen, and the Spanish singer surpassed all expectations. It was not only because of the delicacy and tuning of her voice, but also because she filled the demanding Covent Garden stage with her overwhelming presence. Her Carmen is a haughty and powerful woman, yet at the same time playful, girlish and full of subtleties.
Eduardo Suárez, El Mundo, March 2008

La Bruja, Teatro de La Zarzuela

Nancy Fabiola Herrera is a singer with a brilliant voice with silvery and expressive timbre. She sings with ease in all her extensions, has a homogeneous and lucious voice, and accomplished her objective completely.
Federico Figueroa, Ópera Actual, January 2008