Carla López-Speziale Mezzosoprano
Carla López-Speziale     Mezzosoprano

Carla López-Speziale

From Rodger’s and Hammerstein’s South Pacific:


          “Carla López-Speziale soon follows as Bloody Mary, delivering the strongest character portrayal of the show, from Bali Ha’i onward. The bow-legged hobbling aroud the stage seems a bit much at first. But then you forget about all of that and just watch her and listen to her. López-Speziale doesn’t give you a choice.”

Andrew Meacham, Tampa Bay Times


          “As the hunched Tonkinese Bloody Mary, Carla López-Speziale quickly became an audience favorite. Her voice is in top form.”

Peter Nason, Broadway World



From Verdi’s Un ballo in maschera:


“Carla López-Speziale performed the witch Ulrica with a dynamic mixture of her mezzo-contralto vocal resources, and her stage demeanour portrayed the sinister nature of her character.”

Louis Marbre-Cargill, Pro-Opera Magazine



From Nebra’s Ifigenia en Tracia:


          “Mexican mezzo-soprani Carla Lopez Speziale and Eugenia Ramirez portrayed the male characters. Speziale gave Orestes some royal dignity, even when in disguise [...] Both women showcased beautiful voices.”

Gregory Sullivan Isaacs,




From Verdi’s Il trovatore:


         “The most accomplished member in the cast was Carla López-Speziale, a beautiful woman who gave us a hard-bitten Azucena who, in her Act II scena, was able to encompass the old harridan’s ferocity from the highest tones to lowest. Her interpretation, at times disoriented, at times firm in character, modulated well from scene to scene, concluding with touching ardor in her last moments with Manrico.”



Louis Marbre-Cargill, Pro-ópera.


From Arias from Gluck’s Orfeo ed Euridice:


“With her singing, the mezzosoprano from the State of Mexico captivated the audience from the very first piece. Her powerful voice and interpretation reflected in each one of the arias also showed richness of vocal tones.”


Organización Editorial Mexicana,.


From Mahler’s Third Symphony:

         “For the vocal solo, we heard the experienced Carla López-Speziale. This mezzosoprano, with poise and exemplary use of skills, rendered a just emission at all times. More than only technique, she expressed Friedrich Nietzsche’s texts from Also sprach Zarathustra in the most spiritual possible way. Tears from some people in the chorus testify the manner in which López-Speziale interpreted the text, and may it be said that a big part of the success of these concerts was based on the brief, but magnificent vocal participation of the soloist.”

Jorge Arturo Alcázar, Revista Pro-Ópera.

         “Mezzosoprano Carla López-Speziale’s simply marvelous artistic performance made the difference between this one and any other memorable concert: while she sang the audience’s cheeks filled with warm tears.”

         “Mezzosoprano Carla López-Speziale, with her splendid singing made last Sunday’s concert a once in a lifetime experience... The audience acclaimed her, thankful, at the end.”

Pablo Espinosa, La Jornada.

From Carmen:

         “Once again, and with much success, the Ocampo Theater opened its doors for the audience to witness this opera by Georges Bizet, starring Carla López-Speziale, “Carmen”, who with extensive experience, delighted us with her voice, drawing everybody’s attention.” 

Diario de Morelos.

         “In the leading role of the sensuous gipsy, mezzosoprano Carla López-Speziale developed charm and conviction in her acting, singing with a dark and attractive timbre, and with the laudable security that allows her to know this piece, as a consequence of having already sung it in several productions beforehand.”

José Noé Mercado, Revista Pro-Ópera.

         “…it is necessary to highlight Carla López-Speziale’s performance, her impressive stage presence, full of vocal qualities and notable intuition to portray the legendary cigarette-maker gypsy. Carla knew how to clearly define the contours of a feminine personality some may call “femme fatale”, but which resulted as the archetype of the liberated woman.”

Jorge Vázquez, Diario de Xalapa.

         “What can we say about mezzosoprano Carla López-Speziale, (…), truly speziale, beautiful, stunning, talented.”

Arturo Reyes Isidoro, Punto y aparte.

         Casting López-Speziale was a coup.  Her finely crafted, volcanic characterization dominated the production and provided its molton center.”

Craig Scherfenberg, News Marin, Sept. 30-October 6, 2005


From Bach’s Saint Matthew Passion:

         “…authentically well, singing better each day, our Carla López-Speziale was really special.”

Raúl Díaz, Revista Proceso.


         “The solo violin and the contralto voice, performed by Shari Mason, concertino and Carla López-Speziale, were remarkable. It was Carla who had the most beautiful and moving moments of this magnificent piece. She performed with emotion, passion and style.”

Manuel Yrízar,

         “Carla López-Speziale, Mexican mezzo, shone together with violinist Shari Mason in the aria ‘Erbarme dich, mein Gott’ (Have mercy of me, my God), another of the memorable moments.”

Mauricio Rábago Palafox,


         “Carla López-Speziale used her voice with homogeneity and good quality, especially in her grand aria, “Erbarme dich, mein Gott”, one of the most beautiful ones in the score.”

Alejandro Fernández, El Norte.



From “English songs: homage to Britten”

         “A very enjoyable recital. (…) López-Speziale not only has a very pleasant color in her voice, which is roundedly suited to the genre of ‘song’, but she also has dominion over the technical and musical difficulties of all three cycles performed.”

Iván Martínez, L’Orfeo. Música clásica hoy. 

From Wesendonck Lieder:

         “In this same program (…) the orchestra also performed the Wesendonck Lieder, (which) were brilliantly sung by the recognized mezzosoprano Carla López-Speziale, who was the soloist in front of a full house in the Silvestre Revueltas Hall of the Ollin Yoliztli Cultural Center.”


         “(in the) second part, mezzosoprano Carla López-Speziale performed the five songs that Wagner wrote on poems by his secret lover, Mathilde. A voice of impetuous, precise and powerful high and low registers who knew how to sway in the melodic resonances of these love-suggestive Lieder.

Carla López-Speziale soared beautifully in her soft high notes (Der Engel, Schmerzen); she sang with impetuous prosody in her low register (Träume) and balanced melismatic phrasing (Im Treibhaus). The spiritual colloquium she attained with the clarinet in Stehe still was one of the best moments of her performance.

There were prolonged praises for the winner of the Carlo Morelli Competition; somebody from the audience gave her roses. Four curtain calls:”

Notimex, El Universal, Cultura.


From Cupid’s New Weapons of Love (Las nuevas armas de Amor) :

         “This is not to say that the music didn't pack an emotional wallop. It did. Mexican mezzo Carla López-Speziale, as Cupid, brought us all nearly to tears in the aria when the god mourned the loss of his arrows.”

Gregory Sullivan Isaacs,



         “Mezzo-soprano Carla López Speziale in the title role of Cupid was first among many spectacular artists in the cast.”

Wayne Lee Gay,


         “Cupid (performed by velvety mezzosoprano Carla López-Speziale) ends up striking a deal with the vindictive Diana.

 From the start, the peppery syncopated rhythms of Duron's music came to the fore. The musicians rose to the challenge beautifully. There were Handellike moments of lyricism, including a gorgeous aria for Cupid, well-sung by Speziale.”

Matthew Erikson,  Star-Telegram. 



From Samson et Dalila:

         “To start, we have the sculptural (in voice and figure) Dalila of Carla López-Speziale, with impressive stage presence, varied phrasing, clear and straightforward dramatic intentions, and a voice that possesses the range, the volume and the sensual lush required for such a juicy character. The mezzo underlined the feminine and seductive features of the character rather than the despotic and dictatorial ones. She successfully accomplished the challenge of her three arias—hard to select which one was the most beautiful—and the great duo with the tenor.”

Vladimiro Rivas Iturralde, Revista Pro-ópera.


         “As the seductress and treacherous Dalila, the beautiful and sensual Carla López-Speziale sang with warmth and strength, easily going to the most important moments of the role with consummate musicality and impeccable French pronunciation. With secure and committed acting, she dominated the stage from the moment of she came out. Her voice is rich and vibrant, with a soft transition to the lowest notes required by the role, and she knew how to create a Dalila that was subtle but with powerful sexual attraction. It was easy to understand why Samson would succumb. Her great seduction aria, ‘Mon coeur s’ouvre à ta voix’, where she embraces Samson in her dress, was sung with excellent legato; a lesson in control over the music and her conquest.”

John Bills, Revista Pro-ópera.

         “López-Speziale is meticulous and delicate; her artistic attraction arrives in stages. First it is her voice, dark and intense, with secure high notes and impeccable technique; then her soft presence, enigmatic and attractive; then the ensemble becomes hypnotic; her interpretations go in a crescendo in this order: approval, affinity, fascination and admiration.”

Hugo Roca Joglar, Revista Pro-ópera.



From Das Rheingold:

         “An imposing Carla López-Speziale was Erda”

Greek News, NY.


From Mahler’s Eighth Symphony:

         “Carla López-Speziale confirms herself as the best singer of Mahler in Mexico”

Pablo Espinosa, La Jornada.


From Dido and Aeneas/La vida breve:

         “Some excellent lighting effects heighten[ed] the impact of the sorceress, well sung by Carla López-Speziale.

         Other noteworthy voices included Salud's grandmother, the aforementioned López-Speziale, who proved a strong character actress along with her fine mezzo soprano instrument.”

Mort Levine, The Almanac Online.

         “Voices are strong in their own right, including López -Speziale's excellent mezzo as the sorceress(…)López -Speziale almost steals the show with her wonderful writhing and hip-swinging sorcery.

         López -Speziale is so completely transformed and terrific as the Abuela that one scarcely realizes she was also the gleefully wicked sorceress.”

Jeanie K. Smith, Palo Alto Online.


From Mendelssohn-Bartholdy’s Midsummer Night’s Dream:

         “Enchanting was Midsummer Night’s Dream with the interpretation of the instrumentalists conducted by Carlos Miguel Prieto, the Spanish narrative of Sergio Vela’s own adaptation of texts and melodramas, and the grace of mezzosoprano Carla López-Speziale and soprano Irasema Terrazas.

The audience listened joyfully to this 80 minute piece and respectfully laughed, sotto voce, with the humor of the melodramas and the amusing performances of Carla and Irasema.”

José Alfredo Páramo, Mundo 52.


From Pergolesi’s Stabat mater:

         “Contralto Carla López-Speziale performed with great musicality, (and) low sonorities which made us remember the emission of an eighteenth century castrato. It was a delight to listen to her “Quae Moerebat et Dolebat”, one of the most operatic arias and one also with the most melodic grace.”

Alejandro Fernández, El Norte.


From Bach’s Saint John Passion:

         “With her deep mezzosoprano voice, Carla López-Speziale portrayed the relevance of her skills in both arias. Her dark timbre, almost contralto-like was pleasant and moving, especially in the drama imbued in “Von den Stricken meiner Sünden”.”

Alejandro Fernández, El Norte.





From “Mexico’s Best Voices”:

         “Then Carla López-Speziale would make an appearance with impeccable stage skills and a big and tuneful voice singing “L’amour est un oiseau rebelle” from “Carmen”.


From Vivaldi’s Montezuma:

         “…Carla López-Speziale reached high dramatic and musical levels, especially in the first act, when Mitrena ends it with an aria where she prays to the gods to protect Mexico, and in the second act, when she fantasizes about revenge and glory; the husband, the daughter, the suffering.”

Tere Ponce de Vega, Acordanza, El Sol de México.



From Monteverdi/Respighi’s L’Orfeo:

         “Mezzosoprano Carla López-Speziale was splendid as La musica (Music) and La speranza (Hope), with beautiful and intense singing as well as stage command”.

Vladimiro Rivas Iturralde,

         “Carla López-Speziale, particularly elegant if we may say, surprised me very pleasantly with a much darker, deeper and fuller voice which she used very adequately and with all that heftiness a mezzo must have.”

Raúl Díaz, Tiempo Libre. 



From the 2007 Alfonso Ortiz Tirado Festival:

“The beautiful instalations of the Álamos Municipal Palace were the majestic scenario to close the 2007 Alfonso Ortiz Tirado Festival, which was filled with the harmony and privileged voice of mezzosoprano Carla López-Speziale.”

La Virgula, Alamos, Sonora.


From Dazzi’s En susurros los muertos:

         “Impressive also the singing of Carla López-Speziale. She has a very beautiful, warm voice with a secure and soft top and a powerful low register.”

Christian Fluri,Basler Landschaftszeitung.


         “López-Speziale was the voices of the unfortunate poet and servant Cuacuauhtzin (whose poems Canto triste and Canto florido are included in the score) and Nezahualcóyotl. Her singing in náhuatl [a Mexican Indian language] was intimate and warm, with her dark, rich and rounded voice, as she performed ritualized movements of great beauty and dramatic significance.”

José Noé Mercado, Revista Pro-ópera.


From The Rake’s Progress:

“Mezzo-soprano Carla López-Speziale chewed the scenery with bravura as Baba.”

Scott MacClelland, MetroActive.

“The lovely Carla López-Speziale tossed off the role with panache and a lush mezzo. The beauty of her voice and her theatrical sense cannot be denied.”

John Bender, San Francisco Classical Voice.

         “López-Speziale has excellent vocal control as Baba the Turk.”

Judy Richter, OperaGlass Review, The Richter Scale.


From Messiah:

“Mezzosoprano Carla López Speziale was the highlight of the night. Anything I say is not enough: dynamics, interpretation, warmth in her timbre, vocal technique, low notes like velvet; [it was] a real musical pleasure to hear her note by note.”

Jorge Arturo Alcázar, Revista Pro-ópera.


Carla López-Speziale was the surprise [of the evening], because of her tessitura, a true contralto with homogenous color, and admirable legato.”

Francisco Arvizu Hugues, El Informador, Guadalajara, Jalisco, México.


From Fiesta de la Zarzuela:

         “López-Speziale has a lush mezzo.”

Channing Gray, Providence Journa.


From Gluck’s Orfeo ed Euridice:

         “…many interpretations of the leading roles were acclaimed. One of the most relevant ones was the aria sung by mezzosoprano Speziale, when Euridice dies for the second time [Che farò senza Euridice]. Another one was when Orfeo and Euridice have a tearing love encounter, sung in duet [Vieni, appaga il tuo consorte]. Here, the ancients would conclude, the voices of mezzosoprano and soprano were conjugated in perfect harmony.”

Carlos Paul, La Jornada.


“In this evening’s performace, Orfeo was sung beautifully and commitedly by the mezzo-soprano Carla López-Speziale. Her tone often reminded one of the Olympian Janet Baker. She was very moving in both the recitatives and the famous arias, including «Chiamo il mio ben così,» «Che puro ciel,» and «Che farò senza Euridice.»… Thank you Bellas Artes for giving us a chance to hear live this beautifully classical and elegiac opera.”


Steven Heiblim

Saturday, February 19, 2005

         “Orfeo ed Euridice is an opera gala which based its success in the quality of the voices. Carla López-Speziale makes a superb interpretation of her role.”

Ricardo Pacheco Colín, La Crónica de hoy.


From CD Soirée Musicale:

         “Carla López-Speziale is a fantastic Mexican singer with a solid international career. Her rich mezzo voice and engaging personality find a perfect vehicle in the varied songs Rossini wrote after retiring from composing operas. Enjoy a feast of hilarious songs, with colorful Spanish, Venetian and Parisian settings in a seductive mix of vocal rarities that also includes the Agnus Dei from his Petite messe solennelle. A kaleidoscope of refinement and virtuosity.”

“The first thing to notice when you hear Carla is her beautiful and very dark timbre. We have only heard true contraltos who possess this sort of warm and deep timbre. And of course, this gives the CD its characteristic, since we have usually heard this repertoire in the voices of lighter mezzosopranos.”

Luis Pérez, Revista Pro-ópera.



From Vivaldi’s Nisi Dominus and Cur sagittas:

“The epiphany occurred from beginning to end at each of the six pieces in the program. Two of them had the participation of Mexican mezzosoprano Carla López-Speziale, in a portentous and touching  performance thanks to her deep, amazonic voice with terse and clear registers.”

Ángel Vargas, La Jornada.


“Much better was our mezzosoprano Carla López-Speziale, who embellished with her coloraturas and stylistic command as soloist in two of the six pieces programmed by La Serenissima.”

Lázaro Azar, Reforma.


From Rossini's Stabat mater:

         "In the vocal field, Carla (López-Speziale) demonstrated the good professional moment her career is going through, with purified technique and warm emission."

José Noé Mercado, Revista Pro-Ópera.


From Beethoven's Lieder:

         "The four singers were magnificent. Carla López-Speziale’s performance stood out because of her grace and interpretive charm. The musical spark and the color nuances that she gave in her voice were notable and shone with splendid clarity when she performed "Bonnie Laddie, Highland Laddie."

José Noé Mercado, Revista Pro-Ópera.


From Moreno Torroba’s Luisa Fernanda:

         “Since the Junio Musical Festival last year, a lot has been said of Carla about her vocal qualities and her aptitude to represent Luisa Fernanda, the young protagonist, who has to choose pure love before convenient love. López-Speziale has got everything for this role which combines beauty and youth with the resigned personality of a woman who finds herself betrayed by the man she loves and pursued by the lover who offers her everything.”

Jorge Vázquez Pacheco

Gaceta Universidad Veracruzana.



From Bernstein's Candide:

         "The best interpretation of the night was that of Carla López-Speziale as The Old Lady. The mezzosoprano, apart from singing with wit and firmness, was indeed able to give vivacity, cleverness and charisma to her character."

José Noé Mercado, Centro de Información Online.


         "...the best response was perhaps that of Carla López-Speziale, who as The Old Lady had more ease of manner and freedom of movement than the rest of her colleagues"

Juan Arturo Brennan,  La Jornada.

         "Musically there were remarkable moments in the tenor Carlo Scibelli as 'Candide' as well as in the feminine voices. In this regard, we can highlight the well doing and grace of Olivia Gorra in Cunegonde's Parisian scene, or the Spanish passage interpretation, among others, by the mezzosoprano Carla López-Speziale as 'The Old Lady'."

Mar Sancho,


         "The mezzosoprano Carla López-Speziale showed elegance and a brilliant timbre as The Old Lady."

Erick B. Zermeño Morales


From Rossini's L'italiana in Algeri:

         " was a pleasant surprise to listen to Carla López-Speziale embody the sly Isabella. May her interpretation of the cavatina Per lui che adoro rest as a sample of her notable coloratura and the depth of her voice, which she shows off especially in the lower register."

Lázaro Azar, Cultura/Reforma.

         "Carla López-Speziale offered an accurate Isabella with vocal agility and noble singing line in the comical and serious themes of the opera, such as "Pensa alla patria"."

Ramón Jacques, Canto Lírico -  Polymedios Network.


From Prokofiev's Alexander Nevsky:

         " should be pointed out that the emotional intensity of the concert reached its summit with the participation of Carla [López-Speziale] in the sixth part, "The field of the Dead". [...] What beautiful voice, what charisma, what way of identifying with the distressed woman."

José Alfredo Páramo, La Plaza, El  Economista.


         “In that occasion, accompanied by the UNAM Philharmonic Orchestra under Ronald Zollman’s Baton, the singer (Carla López-Speziale) left those who heard her at the Nezahualcóyotl Concert Hall with the feeling of that “enclosed and deep pain” found in Russian music, of which Prokofiev is one of its main exponents.”

José Alfredo Páramo, La Plaza.


From Rossini's Il barbiere di Siviglia:

         "Mezzosoprano Carla López-Speziale gave Rosina a darker edge than usual, with a dignified stage presence and an agile, rich mezzo voice that sank to unbelievable low notes in the cadenzas of both her arias."

Michael Chipman, Salt Lake Tribune.

          "Rosina, as sung by Carla López-Speziale, returns the character to her rightful mezzo roots. The role, often hijacked by sopranos, was originally thought for a lower voice. Lopez brought a rich dark timbre to the role and interpolated additional low notes into both arias...[and]...her singing was superb."

Cindy Dewey, The Herald Journal/Cache.


 “Carla López-Speziale is a perfect Rosina, the object of Count Almaviva’s — and Doctor Bartolo, as it turns out — desire. López-Speziale, a young Mexican mezzo-soprano, shows just enough tease and plenty of talent to deserve being the center of attention.”


Jay Wamsley, The Utah Statesman Online. 

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