Reviews
Abla Lynn Hamza gave a strong performance in a wide range of styles, from the prayerful "Salve Maria" to her fiery denunciation of the crusaders' violence, "No, Dio nol vuole." Her coloratura outburst "Qual prodigio!" during an Act IV dream sequence brought down the house.
John Fleming
-Opera News
Abla Lynn Hamza as Giselda was wonderful... her dramatic soprano rang through the house in the powerful Salve Maria.
Rex Hearn
-Palm Beach Arts Paper
Don Magnifico’s gold-digging daughter(s), (was) played to comic perfection by the sweet-voiced Abla Lynn Hamza
Harriet Howard Heithaus
-Naples Daily News
...the Three Ladies (were standouts,) especially Hamza, whose voice soared with a clear beauty that made us want to hear more from her...in the future.
June LeBell
-Sarasota Observer
Abla Hamza combined a gorgeous soprano with generous expressivity.
Scott Cantrell
-Dallas Morning News
Hamza had the audience enthralled by Violetta's tragic downfall... (In) Violetta's first act curtain closer, Sempre Libera,...a flashy coloratura display piece, Hamza was up to the task, swigging champagne,...her scales and trills soaring.
John Fleming
-St. Petersburg Times
The star of the show, hands down, was Abla Hamza's firecracker of a Norina. Hers is a genuinely beautiful soprano, warm, liquescent and nimble, and she played the conniving faux ingenue to the hilt.
Scott Cantrell
-Dallas Morning News
As Juliette, Abla Lynn Hamza's voice was "confident, tender, and passionate."