Manager: Elizabeth Crittenden , Artistic Advisor & Consultant
Management Territory: Worldwide
"For her performance as Santuzza on Sunday was the best singing that I have heard, not only in Washington but anywhere, in a long, long time...The basic equation of the afternoon was: Zajick onstage equals riveting opera; opera minus Zajick equals something considerably less riveting." Washington Post - Santuzza in 'Cavalleria rusticana', Washington National Opera debut
“As the haunted gypsy Azucena, mezzo-soprano Dolora Zajick remains a vocal phenomenon of the first order…for sheer visceral thrills in this music she's hard to beat.” San Francisco Chronicle - Azucena in 'Il trovatore', Metropolitan Opera
"Zajick's mezzo really is a proverbial iron fist in a velvet glove, her delicately-spun legato in 'Ai nostri monti' all the more impressive after her hair-raising Act III curse and the thunderous chest register she employed in 'Mal reggendo'. Her characterization of the bedeviled gypsy was a pointed reminder of Zajick’s largely unchallenged position as THE Verdi mezzo of the day." Opera News - Azucena in 'Il trovatore', Lyric Opera of Chicago
Hailed as a “force of nature” (Variety), Dolora Zajick has been internationally acclaimed as that rare voice type, a true dramatic Verdi mezzo-soprano, typified by the composer's most famous and difficult mezzo-soprano roles. Dolora is known for her interpretations of Azucena in Il Trovatore, Amneris in Aida, and Eboli in Don Carlo on the world’s greatest stages, including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Houston Grand Opera, Teatro alla Scala, Teatro Real in Madrid, the Liceu in Barcelona, Vienna Staatsoper . . . , Royal Opera House Covent Garden, Opéra National de Paris, among numerous others, as well as at the Salzburg and Orange Festivals, and the Arena di Verona.
Her expressive vocal palette, seamless technique and ability to communicate even the most complex character enrich such roles as the Countess in Queen of Spades, Ortrud in Lohengrin, Princess de Bouillon in Cilea's Adriana Lecouvreur, Marfa in Moussorgsky's Khovanshchina, Jezibaba in Dvorák's Rusalka, Santuzza in Cavalleria rusticana, and the title roles in Tchaikovsky's Maid of Orleans, Donizetti's Italian and French versions of La favorite, Dalila in Saint-Saens's Samson et Dalila, and Massenet's Hérodiade.