As Phyllis in Iolanthe with MasterVoices (Carnegie Hall)

“Ashley Fabian’s Phyllis was a vision of sunshine and joy […] lovely lyric soprano.”

- New York Classical Review

“Ashley Fabian’s soaring soprano, as the female half of the young lovers was a joy”

- Broadway World

“[T]he night ultimately belonged to the relative newcomers. Soprano Ashley Fabian and baritone Schyler Vargas approached their roles with palpable excitement of singers who are rounding the bend of their big breaks. Fabian combined a voice of immense warmth and scintillating spin with subtle comedic timing, as feisty shepherdess Phyllis […] These two are clearly stars in the making.”

- parterre box

“As for Fabian, with her glistening soprano, and Vargas, with his warm commanding baritone, they not only shone every time they sang but also when they spoke, grasping both the comedy and pathos of their roles. These two are among the finest operatic actors I’ve seen recently, and I predict very bright futures for them both.”

- Theater Pizzazz

“Phyllis was personified by Ashley Fabian, a lovely, perky soprano on the rise”

- Classics Today

 As the Soprano Soloist in Carmina Burana (Utah Symphony)

“Fabian delivered her first aria, ‘Cupid Flies Everywhere’, in a gorgeous, crystalline tone and shaped each phrase beautifully. […] [S]he sang without a score, which allowed her to fully commit to the piece with her gestures and posture. […] She then responded with an utterly sublime rendition of ‘A Girl Stood’, her high notes ringing sweetly and clearly throughout the hall.”

- Rick Mortensen, Utah Arts Review

As the Soprano Soloist in Carmina Burana (Columbus Symphony)

“She boasted an impressive command of labyrinthine melismas in “Dulcissime, totam tibi subdome!”

-Sam Jacobson, Quasi-Faust

As Gretel in Humperdinck’s Hansel & Gretel (Pittsburgh Opera)

“Visually, Ashley Fabian was a perfect Gretel, full of youthful zest. Her voice was absolutely beautiful in the middle range where most of the role sits […] Their prayer in the forest was simple, still and absolutely lovely.”

- Rick Perdian, Seen and Heard International

“[…] the performance was satisfying from a vocal point, with Corrie Stallings and Ashley Fabian blending their voices effectively in the title roles. […] they charmed the ears and eyes, which counted for much.”

- George B. Parous, Pittsburgh in the Round

As Bellezza in Il trionfo del Tempo e del Disinganno (Opera Neo)

“Ashley Fabian was an astounding Beauty throughout, manifesting all the stages of her moral journey with dramatic and virtuosic variation; her duet with Piacere was astonishing as the two youthful characters joined in thrilling parallel cascading scales.”
-Luke Schulze, The San Diego Union-Tribune

“Fabian’s supple coloratura soprano, radiant throughout her range, aptly invigorated Handel’s arias filled with lavish ornamentation in his effervescent characterization of Bellezza, yet her nuanced dramatic interpretation took into account Beauty’s fragile insecurities.”
-Ken Herman, San Diego Story

As Ginevra in Ariodante (Opera Neo)

“Soprano Ashley Fabian made a fetching Ginevra, portraying in full voice the excitement and joy of her betrothal, and later the confusion and horror of her mad scene. Her aria “Io ti bacio” was sweet and touching.”

- Christian Hertzog, The San Diego Union-Tribune

“[…] fluent technique and emotional conviction by soprano Ashley Fabian […] a golden voice.”

- Ken Herman, San Diego Story

As Ilia in afterWards, a reimagined version of Mozart’s Idomeneo (Pittsburgh Opera)

“Ashley Fabian […] sang her role with silvery tones and a fine understanding of the smooth legato so necessary to operatic vocalism in general, and Mozart’s style in particular. She sang beautifully from her solo entrance which follows the overture until the final dimming of the lights.”

-George B. Parous, Pittsburgh in the Round

As Barbarina in Mozart's Le nozze di Figaro (Pittsburgh Opera)

"Ashley Fabian, as Barbarina, a character who makes her first appearance late in the opera, displayed a voice and stage manner well worth the wait."

-George B. Parous, Pittsburgh in the Round

As Cinderella in Sondheim’s Into the Woods (Holy City Arts & Lyric Opera)

“As Cinderella, Ashley Fabian transformed the crisp night air into a thing of stirring beauty.”

-Maura Hogan, The Post and Courier

As Adina in Donizetti’s L’elisir d’amore (Indianapolis Opera)

“Indeed, Fabian’s Adina, after an impressive start, seemed to get even warmer and more agile as those qualities were needed in the second act.”

-Jay Harvey Upstage

As Mme. Silberklang (Bettie) in Mozart's The Impresario (Central City Opera)

"Ashley Fabian, as the younger soprano (with the comical name Bettie Braswell) is a joy to watch and hear."

-Kelly Dean Hansen, Daily Camera

As Shepherd Boy in Puccini's Tosca (Central City Opera)

"Ashley Fabian was the sweet-voiced, utterly natural sounding Shepherd."

-James Sohre, Opera Today

As Lucia in Donizetti's Lucia di Lammermoor (Hudson Opera Theater)

"Fabian kept us engaged all night as her bright hopes descended into madness and despair. Her gorgeous and perfectly controlled coloratura tugged at my heart as her brave inexperience faltered at the hands of cruel manipulation and deception. Her mad scene was masterful. [...] Alternating between near lucidity and total psychosis, Fabian made us believe she saw and heard people and things that were not there."

-Christine Chase, Basso Buff

In recital (Charleston, SC)

"Ashley Fabian [...] displayed her pleasure of being on stage, along with the first full twirl I have ever witnessed by a soprano. I kinda liked that little touch, but not nearly as much as her final notes that reached the rooftop."

-Peter Ingle, Charleston Today

"Not since Frank Sinatra has someone made me enthusiastic about listening to love songs."

-Christina Jeter, The Urban Twist