"...It was left to the considerable talent and imagination of enthralling young Transylvania mezzo Kinga DOBAY to make the piece work. With her clear French diction, intense commitment, luscious, rainbow-hued voice and complex body language, she scored a triumph in her mesmerizing 45 minutes of deep psychological debasement." By Larry L. Lash 7/3/07 MusicalAmerica.com

"It would be hard to imagine a more perfect Anita than Kinga Dobay, an acid-tongued spitfire who made "America" the show's highlight."-
Larry L Lash, Financial Times, Aug 13, 2004

"... sang and acted ... splendidly" Opera

"As the Composter (a trouser role), German Kinga Dobay was authoritative, and her rich-tone produced arias of melting beauty." Sunday Business Post Online, Dick O'Riordan, April 6, 2008

"She has excellent (native) German and a timbre reminiscent of this glorious role's great (soprano) interpreters of the 1950s." Sunday Times, Hugh Canning, April 6, 2008

"And Mezzo Kinga Dobay's Composer is darkly lustrous. Independent.ie, Pat O'Kelly, April 1, 2008

A storm of applause for Kinga Dobay!
In addition, Kinga Dobay, a mezzo-soprano from Transylvania, roused the audience to storms of enthusiasm: first with the aria of Sesto from Mozart's "Titus", then with the "Habanera" from Bizet's "Carmen" and then with the "Carceleras" by the Spaniard Ruperto Chapi from the end of the 19th century. Finally, the aria from Rossini's Cenerentola with adventurous virtuosity. An artist with a beautiful voice who mastered passages of the highest technical difficulty with ease and drew all the expressive nuances from the character of the composition alone. This was an artistic experience of a special kind, which catapulted the entertainment character of this Proms program to a high level. And the artist was also highly engaging in appearance. "A touch of Netrebko."

A minor sensation was the Hungarian mezzo-soprano Kinga Dobay, a barely tamed bundle of temperament in her playing and singing. Her clear, well-fitting voice, not too dark, immediately caught the ear in the Habanera with a fine glow, and displayed gloriously radiant high notes ... the majority of the cheers went to her performance. Main Echo August 2, 2003, Renate Freyeisen

Kinga Dobay's singing on Friday is so strong and differentiated that it sometimes leaves you breathless. One can assume that it is Kinga Dobay's musical experience that enables her to give such a contoured performance. Tauber Newspaper July 28, 2003

"...Under the direction of Yakov Kreizberg, the Hungarian Kinga Dobay sang her way into the hearts of the castle visitors; the master student of Julia Hamari has a timbre ranging from velvety soft to radiant, her voice is warm and full-bodied, her looks can seduce and kill..." Kölner Rundschau 02/08/03, Olaf Weiden

" With her technically very mature, agile and also very deep mezzo, she fulfills all expectations of a woman who captivates men with her erotic charisma. A very songlike Habanera and equally raw emotional outbursts. Strong." 12/2011 Südwestpresse, Jürgen Kanold

This Nabucco is also a vocal delight. Above all, the two ladies are captivating: Kinga Dobay is simply ravishing as Fenena with a beautiful timbre ....
Opernnetz - magazine for music theater and opera, Thomas Hilgemeier 4.5.2011

As the good king's daughter Fenena, Kinga Dobay makes the most of her role with her warm mezzo-soprano and glamorous charisma. Ruhr News, Manuel Jennen 2.05.2011

With her dark timbred mezzo-soprano, Kinga Dobay fills the role of Fenena with melodiousness. Culture NRW by Edda Breski 2.05.2011

Kinga Dobay's profound mezzo-soprano portrays Fenena's sensitive nature with a resonant, bound melodic flow, e.g. in the last aria. Online Music Magazine, by Ursula Decker

Last but not least, Kinga Dobay's singing would probably have received high praise from Rossini himself, who was married twice to distinguished female singers. Kinga Dobay has a golden-toned mezzo voice that brilliantly shines in the coloratura of Rosina's aria as well as gracefully and intimately expressing Desdemona's lament. Potsdamer Neueste Nachrichten

Of course, the singing could not be missing, which appeared here in the form of the great mezzo-soprano Kinga Dobay. Babette Kaiserkern

Acclaimed highlights of the 6th symphony concert are the performances of singer Kinga Dobay, who sings famous arias by Rossini with a voluminous, expressive voice. She sings "Una voce poco fà" from the "Barber of Seville". She sings Desdemona's aria "Assisa a pie d'un salice" from "Othello" with unearthly beauty. The audience is enraptured. Märkische Allgemeine, Ann Brünink

"Butterfly's faithful companion Suzuki was played touchingly by Kinga Dobay and sung engagingly with a balanced, clearly flowing voice."
Opernglas 11/2011, K.-F. Schulter

And Kinga Dobay as a mezzo (Suzuki) glowing with velvet right up to the top is a highlight of this Puccini production...

NUZ 24.09.2011 Roland Mayer

"The ensemble is excellent, especially Kinga Dobay as the coloratura-slinging Ariodante." Night review Südwestpresse

"In a homogeneous ensemble, the mezzo-soprano takes pride of place in the trouser role of Ariodante. She displays great vitality in the distinctly rhythmically jagged coloraturas of her arias. And she gives a moving performance in the very different, withdrawn lament after the moment of Ginevra's supposed infidelity." By Günter Buhles

"In this exciting opera, Kinga Dobay (in the royal knight role of the loving and desperate Ariodante) lets her great mezzo-soprano sparkle with precision, bundles dancing power with velvety creativity, but can also glow in restrained moments full of poetry." Augsburger Allgemeine, by Roland Mayer