Haynd's Nelson Mass · Teatro Monumental (Madrid)
Ritmo (02.02.26) · Daniel De la Puente
The solo quartet performed with solidity, with the soprano Anna Cabrera standing out, as her part carries greater prominence in the score than those of her fellow soloists. Although she had to navigate the extremely rapid tempos of her passages in the Kyrie, she did so with skill and without losing composure. In her interventions, she paid particular attention to the entrances, which were perfectly in tune and delicately beautiful. Moreover, her voice does not lose an ounce of power in its lower register, complemented by a flawless blend with the other soloists (Alejandro del Cerro), who were impeccable in all their contributions.
The solo quartet performed with solidity, with the soprano Anna Cabrera standing out, as her part carries greater prominence in the score than those of her fellow soloists. Although she had to navigate the extremely rapid tempos of her passages in the Kyrie, she did so with skill and without losing composure. In her interventions, she paid particular attention to the entrances, which were perfectly in tune and delicately beautiful. Moreover, her voice does not lose an ounce of power in its lower register, complemented by a flawless blend with the other soloists (Alejandro del Cerro), who were impeccable in all their contributions.
Ariane et Barbe-Bleue · Teatro Real (Madrid)
Platea Magazine (01.02.26) · Enrique Bert
Jaquelina Livieri (Ygraine), María Miró (Mélisande), and Renée Rapier (Bellangère) delivered highly accomplished performances.
Opera World (30.01.26) · María Pardo
The other four were meticulously crafted on a physical, expressive, musical, and vocal level. The dark, rich vocal color of all of them is striking; even the sopranos are hardly distinguishable in timbre from the mezzo-sopranos. The cast consists of: Sélysette, performed by the French mezzo-soprano Aude Extrémo; Ygraine, by the Argentine soprano Jaquelina Livieri; Mélisande, by the Spanish soprano María Miró; and Bellangère, by the American mezzo-soprano Renée Rapier.
Beckmesser (28.01.26) · Arturo Reverter
The other four women were up to the task: Aude Extremo, also a mezzo-soprano (Sélysette); Jaqueline Livieri, an agile soprano (Ygraine); María Miró, a lyric soprano (Mélisande); and Raquel Villarejo Hervás, actress and dancer (Alladine).
Jaquelina Livieri (Ygraine), María Miró (Mélisande), and Renée Rapier (Bellangère) delivered highly accomplished performances.
Opera World (30.01.26) · María Pardo
The other four were meticulously crafted on a physical, expressive, musical, and vocal level. The dark, rich vocal color of all of them is striking; even the sopranos are hardly distinguishable in timbre from the mezzo-sopranos. The cast consists of: Sélysette, performed by the French mezzo-soprano Aude Extrémo; Ygraine, by the Argentine soprano Jaquelina Livieri; Mélisande, by the Spanish soprano María Miró; and Bellangère, by the American mezzo-soprano Renée Rapier.
Beckmesser (28.01.26) · Arturo Reverter
The other four women were up to the task: Aude Extremo, also a mezzo-soprano (Sélysette); Jaqueline Livieri, an agile soprano (Ygraine); María Miró, a lyric soprano (Mélisande); and Raquel Villarejo Hervás, actress and dancer (Alladine).
La edad de plata · Teatro de la Zarzuela (Madrid)
Ópera Actual (06.02.26) · Arturo Reverter
For his part, Gerardo Bullón, a noble, well-rounded, and finely timbred baritone, delivered a Don Quixote of measured presence.
Codalario (03.02.26) · Raúl Chamorro Mena
Gerardo Bullón’s Quixote was entirely fitting, and he also embodied Falla within the drama, thanks to the nobility of his timbre and his ease on stage.
Opera World (01.02.26) · Federico Figueroa
In El retablo de Maese Pedro, Gerardo Bullón created an expressive portrayal of Don Quixote.
Bachtrack (31.01.26) · Aaron Vincent
Gerardo Bullón, in Falla’s costume, delivered his lines clearly and embodied a Don Quixote who was vocally and dramatically robust.
Scherzo (27.01.26) · Manuel García Franco
The leading roles in El retablo were taken by a splendid Gerardo Bullón (baritone), as Don Quixote (...).
Platea Magazine (25.01.26) · Víctor Mourelle
In El retablo de Maese Pedro, Gerardo Bullón crafted a Don Quixote of remarkable expressive coherence, fully aware of the fragile balance between epic, irony, and humanity that defines the character. His voice, especially appealing and elegant in phrasing, naturally supported the musical line, leaving the impression—perhaps the hope—of hearing him in other, more substantial roles within the repertoire.
For his part, Gerardo Bullón, a noble, well-rounded, and finely timbred baritone, delivered a Don Quixote of measured presence.
Codalario (03.02.26) · Raúl Chamorro Mena
Gerardo Bullón’s Quixote was entirely fitting, and he also embodied Falla within the drama, thanks to the nobility of his timbre and his ease on stage.
Opera World (01.02.26) · Federico Figueroa
In El retablo de Maese Pedro, Gerardo Bullón created an expressive portrayal of Don Quixote.
Bachtrack (31.01.26) · Aaron Vincent
Gerardo Bullón, in Falla’s costume, delivered his lines clearly and embodied a Don Quixote who was vocally and dramatically robust.
Scherzo (27.01.26) · Manuel García Franco
The leading roles in El retablo were taken by a splendid Gerardo Bullón (baritone), as Don Quixote (...).
Platea Magazine (25.01.26) · Víctor Mourelle
In El retablo de Maese Pedro, Gerardo Bullón crafted a Don Quixote of remarkable expressive coherence, fully aware of the fragile balance between epic, irony, and humanity that defines the character. His voice, especially appealing and elegant in phrasing, naturally supported the musical line, leaving the impression—perhaps the hope—of hearing him in other, more substantial roles within the repertoire.
Margot · Gran Teatro de Córdoba
Mundo Clásico (30.01.26) · José Amador Morales
Javier Franco was a sure asset in successfully completing the leading triangle, thanks to the Galician baritone’s unquestionable commitment and remarkable musicality.
1/2 Tono (27.01.26) · Alejandro Fernández
Javier Franco, as José Manuel, was able to portray a character torn between heart and duty. He displayed generous vocal projection and showed particular attention to the psychology of the role, translating this care into remarkable clarity across all registers.
Scherzo (26.01.26) · C. Crespo García
The dark and dense timbres of Berna Perles and Javier Franco, as Margot and José Manuel respectively, contributed to a convincing blend as the leading couple, whom they succeeded in endowing with real substance and emotion.
Beckmesser (25.01.26) · Andrés Moreno Mengíbar
Javier Franco stood at the center of the love triangle, torn between the Parisian Margot and the Sevillian Amparo. His voice is powerful, resonant, and richly timbred, with effortless projection and clear diction. Moreover, his phrasing is consistently charged with expressiveness and dramatic intensity.
Javier Franco was a sure asset in successfully completing the leading triangle, thanks to the Galician baritone’s unquestionable commitment and remarkable musicality.
1/2 Tono (27.01.26) · Alejandro Fernández
Javier Franco, as José Manuel, was able to portray a character torn between heart and duty. He displayed generous vocal projection and showed particular attention to the psychology of the role, translating this care into remarkable clarity across all registers.
Scherzo (26.01.26) · C. Crespo García
The dark and dense timbres of Berna Perles and Javier Franco, as Margot and José Manuel respectively, contributed to a convincing blend as the leading couple, whom they succeeded in endowing with real substance and emotion.
Beckmesser (25.01.26) · Andrés Moreno Mengíbar
Javier Franco stood at the center of the love triangle, torn between the Parisian Margot and the Sevillian Amparo. His voice is powerful, resonant, and richly timbred, with effortless projection and clear diction. Moreover, his phrasing is consistently charged with expressiveness and dramatic intensity.
Rigoletto · Teatro Campoamor (Oviedo)
Ópera Actual (22.12.25) · Antonio Hedrera
Javier Franco delivered a Rigoletto of strong stage presence and solid vocal authority, standing out particularly in “Cortigiani, vil razza dannata,” one of the most applauded moments of the evening, where he successfully combined dramatic intensity with controlled phrasing. Franco conveyed the emotional complexity of the character with insight, despite certain peculiarities of the production, such as the occasional suppression of the hunchback in intimate scenes, suggesting a deliberate distinction between the public jester and the private father.
Javier Franco delivered a Rigoletto of strong stage presence and solid vocal authority, standing out particularly in “Cortigiani, vil razza dannata,” one of the most applauded moments of the evening, where he successfully combined dramatic intensity with controlled phrasing. Franco conveyed the emotional complexity of the character with insight, despite certain peculiarities of the production, such as the occasional suppression of the hunchback in intimate scenes, suggesting a deliberate distinction between the public jester and the private father.
Adiós a la bohemia · Auditorio de Tenerife (Santa Cruz)
En Platea (10.12.25) · Celia García
Soprano Jaquelina Livieri, in her role as Trini, conveyed her character’s fragility and yearning with particular sensitivity. She sang with strength and commanded a compelling presence, moving the audience, especially in her rendition of the Romanza de Ascensión.
Bachtrack (10.12.25) · Ramón Pereira Blanco
Not far behind was the Vagabond, performed by bass Javier Castañeda, in his role as the introducer and epilogue of the work — a kind of leitmotif of realism — with brief but accomplished interventions.
Ópera Actual (09.12.25) · Estrella Ortega
Soprano Jaquelina Livieri, a central figure in this story, delivered a fully convincing Trini both vocally and dramatically, while Javier Castañeda, in his bass range, portrayed the vagabond with authority.
Soprano Jaquelina Livieri, in her role as Trini, conveyed her character’s fragility and yearning with particular sensitivity. She sang with strength and commanded a compelling presence, moving the audience, especially in her rendition of the Romanza de Ascensión.
Bachtrack (10.12.25) · Ramón Pereira Blanco
Not far behind was the Vagabond, performed by bass Javier Castañeda, in his role as the introducer and epilogue of the work — a kind of leitmotif of realism — with brief but accomplished interventions.
Ópera Actual (09.12.25) · Estrella Ortega
Soprano Jaquelina Livieri, a central figure in this story, delivered a fully convincing Trini both vocally and dramatically, while Javier Castañeda, in his bass range, portrayed the vagabond with authority.
Pelléas et Mélisande · Teatro Colón (A Coruña)
Beckmesser (11.12.25) · Julián Carrillo Sanz
Javier Agudo was more than commendable in his singing as the Doctor.
La Voz de Galicia (07.12.25) · Hugo Álvarez Domínguez
Javier Agudo performed well as both the Shepherd and the Doctor.
Scherzo (07.12.25) · Luis Suñén
Mónica Redondo, returning to A Coruña, as Geneviève, and Javier Agudo as the Doctor, both delivered flawless performances.
Ópera Actual (07.12.25) · José Luís Jiménez
Consistent Javier Agudo.
Javier Agudo was more than commendable in his singing as the Doctor.
La Voz de Galicia (07.12.25) · Hugo Álvarez Domínguez
Javier Agudo performed well as both the Shepherd and the Doctor.
Scherzo (07.12.25) · Luis Suñén
Mónica Redondo, returning to A Coruña, as Geneviève, and Javier Agudo as the Doctor, both delivered flawless performances.
Ópera Actual (07.12.25) · José Luís Jiménez
Consistent Javier Agudo.
El potosí submarino · Teatro de la Zarzuela (Madrid)
MasEscena (01.12.25) · Alberto Sanz Blanco
Alejandro del Cerro, in the role of Cardona, brings an agile tenor and a telenovela-heartthrob charisma that makes his transformation from betrayed lover to enthusiastic accomplice believable; his arietta “¡Ah! Ya estoy en tierra, soy feliz” is a display of lightness and mischievous charm.
Opera World (26.11.25) · Federico Figueroa
Alejandro del Cerro stands out with a magnetic portrayal of Cardona.
Ópera Actual (23.11.25) · Rocío Garcíalonso
The tenor Alejandro del Cerro (Cardona) was impeccable both vocally and visually, delivering one of the most magnetic moments of the second act, thanks to his bearing and the traje de luces.
Codalario (23.11.25) · Raúl Chamorro Mena
Alejandro del Cerro delivered well-shaped phrasing.
Platea Magazine (22.11.25) · Javier Pérez
The role of Cardona was sung by Alejandro del Cerro with accuracy and propriety.
La Razón (20.11.25) · Álvaro Guibert
Alejandro del Cerro’s Cardona stood out for both his voice and stage presence.
Alejandro del Cerro, in the role of Cardona, brings an agile tenor and a telenovela-heartthrob charisma that makes his transformation from betrayed lover to enthusiastic accomplice believable; his arietta “¡Ah! Ya estoy en tierra, soy feliz” is a display of lightness and mischievous charm.
Opera World (26.11.25) · Federico Figueroa
Alejandro del Cerro stands out with a magnetic portrayal of Cardona.
Ópera Actual (23.11.25) · Rocío Garcíalonso
The tenor Alejandro del Cerro (Cardona) was impeccable both vocally and visually, delivering one of the most magnetic moments of the second act, thanks to his bearing and the traje de luces.
Codalario (23.11.25) · Raúl Chamorro Mena
Alejandro del Cerro delivered well-shaped phrasing.
Platea Magazine (22.11.25) · Javier Pérez
The role of Cardona was sung by Alejandro del Cerro with accuracy and propriety.
La Razón (20.11.25) · Álvaro Guibert
Alejandro del Cerro’s Cardona stood out for both his voice and stage presence.
Orlando furioso · Teatro Campoamor (Oviedo)
Opera World (21.11.25) · Pablo Álvarez Siana
The third mention goes to Serena Pérez (Medoro). The Asturian singer delivered an elegant line and refined phrasing in a challenging tessitura; although the orchestra occasionally overshadowed her, her voice remained consistently rounded, gradually maturing through a constantly evolving performance.
Scherzo (17.11.25) · Miriam Perandones
The Asturian mezzo-soprano Serena Pérez gave a fine performance as Medoro, demonstrating an impressive upward trajectory as an artist.
Ópera Actual (17.11.25) · Jonathan Mallada
Serena Pérez as Medoro also performed at a very high level, displaying theatrical flair and executing the coloraturas with skill: the Asturian singer was one of the standout members of the cast.
El Comercio (15.11.25) · Ramón Avello
Excellent, too, the Gijón-born mezzo Serena Pérez in the role of Medoro, Angélica’s lover. Her aria in the second act was delightful, and the entire wedding scene was very well sung, marked by a compelling stage presence.
The third mention goes to Serena Pérez (Medoro). The Asturian singer delivered an elegant line and refined phrasing in a challenging tessitura; although the orchestra occasionally overshadowed her, her voice remained consistently rounded, gradually maturing through a constantly evolving performance.
Scherzo (17.11.25) · Miriam Perandones
The Asturian mezzo-soprano Serena Pérez gave a fine performance as Medoro, demonstrating an impressive upward trajectory as an artist.
Ópera Actual (17.11.25) · Jonathan Mallada
Serena Pérez as Medoro also performed at a very high level, displaying theatrical flair and executing the coloraturas with skill: the Asturian singer was one of the standout members of the cast.
El Comercio (15.11.25) · Ramón Avello
Excellent, too, the Gijón-born mezzo Serena Pérez in the role of Medoro, Angélica’s lover. Her aria in the second act was delightful, and the entire wedding scene was very well sung, marked by a compelling stage presence.
Werther · Afundación (Vigo)
Beckmesser (11.11.25) · Arturo Reverter
(...) the baritone Gerardo Bullón — assured, even-toned, musical, well-coloured, flexible and dignified — a model Albert.
Artezblai (10.11.25) · Afonso Becerra
Gerardo Bullón’s portrayal of Alberto was likewise superb and thoroughly accomplished, conveying satisfaction and joy, clouded only in those moments when the character becomes aware of the situation between his wife and Werther.
(...) the baritone Gerardo Bullón — assured, even-toned, musical, well-coloured, flexible and dignified — a model Albert.
Artezblai (10.11.25) · Afonso Becerra
Gerardo Bullón’s portrayal of Alberto was likewise superb and thoroughly accomplished, conveying satisfaction and joy, clouded only in those moments when the character becomes aware of the situation between his wife and Werther.
Yerma · Auditorio de Tenerife (Santa Cruz)
Bachtrack (24.10.25) · Ramón Pereira Blanco
Javier Castañeda stood out in the brief role of Víctor, with a powerful, well-toned voice.
Platea Magazine (16.10.25) · Alejandro Martínez
I was also very impressed by Javier Castañeda’s portrayal of Víctor, displaying a finely toned baritone voice and a noble, expressive vocal line.
From the extensive remaining cast, special mention should be made of the washerwomen and old women, with Belén Elvira’s fine performance standing out, as well as the promising qualities shown by Zayra Ruiz and Alexandra Urquiola in particular.
Ópera Actual (16.10.25) · Fernando Sans Rivière
Equally excellent was the elegant and musical Víctor of the Palencia-born bass-baritone Javier Castañeda.
Beckmesser (16.10.25) · Justo Romero
Also noteworthy was the third party in this emotional triangle, Víctor — the ‘baritone of the opera’, the man who, in childhood, ‘lifted me in his arms to cross the irrigation ditch’ — brought to life through the brave and clear singing of the Palencia-born baritone Javier Castañeda.
Within the extensive, varied and finely balanced cast, all the female performers stood out: from mezzo-soprano Anna Gomà in her prominent role as María, to the Canarian Belén Elvira, the Argentine Guadalupe Barrientos, the Mexican Zayra Ruiz, and the New York–based Cuban mezzo-soprano Alexandra Urquiola.
La Vanguardia (15.10.25) · Jordi Maddaleno
Baritone Javier Castañeda was mellow and controlled as Yerma’s friend and platonic love, his burnished timbre blending magnificently with Perles’s charismatic Yerma.
Javier Castañeda stood out in the brief role of Víctor, with a powerful, well-toned voice.
Platea Magazine (16.10.25) · Alejandro Martínez
I was also very impressed by Javier Castañeda’s portrayal of Víctor, displaying a finely toned baritone voice and a noble, expressive vocal line.
From the extensive remaining cast, special mention should be made of the washerwomen and old women, with Belén Elvira’s fine performance standing out, as well as the promising qualities shown by Zayra Ruiz and Alexandra Urquiola in particular.
Ópera Actual (16.10.25) · Fernando Sans Rivière
Equally excellent was the elegant and musical Víctor of the Palencia-born bass-baritone Javier Castañeda.
Beckmesser (16.10.25) · Justo Romero
Also noteworthy was the third party in this emotional triangle, Víctor — the ‘baritone of the opera’, the man who, in childhood, ‘lifted me in his arms to cross the irrigation ditch’ — brought to life through the brave and clear singing of the Palencia-born baritone Javier Castañeda.
Within the extensive, varied and finely balanced cast, all the female performers stood out: from mezzo-soprano Anna Gomà in her prominent role as María, to the Canarian Belén Elvira, the Argentine Guadalupe Barrientos, the Mexican Zayra Ruiz, and the New York–based Cuban mezzo-soprano Alexandra Urquiola.
La Vanguardia (15.10.25) · Jordi Maddaleno
Baritone Javier Castañeda was mellow and controlled as Yerma’s friend and platonic love, his burnished timbre blending magnificently with Perles’s charismatic Yerma.
Don Juan no existe · Festival de Ópera de Sevilla
Diario de Sevilla (08.10.25) · Andrés Moreno Mengíbar
Olivé’s powerful, well-projected voice provided an apt counterpoint (…).
ABC (08.10.25) · Carlos Tarín
We also heard Josep-Ramón Olivé (Don Juan / Agustín), whose robust voice and excellent diction stood out (even though the text was in Spanish — the projected surtitles still proved useful on more than one occasion). His tone was rounded and finely nuanced.
Olivé’s powerful, well-projected voice provided an apt counterpoint (…).
ABC (08.10.25) · Carlos Tarín
We also heard Josep-Ramón Olivé (Don Juan / Agustín), whose robust voice and excellent diction stood out (even though the text was in Spanish — the projected surtitles still proved useful on more than one occasion). His tone was rounded and finely nuanced.
El dúo de la Africana · Teatro Pérez Galdós (Las Palmas)
Ópera World (04.10.25) · Federico Figueroa
The duo formed by soprano Sofía Esparza and tenor Alejandro del Cerro — both vocally splendid — displayed boundless energy as La Antonelli and Giuseppini. Esparza enjoyed a particularly brilliant moment with her performance of Angelita’s waltz from the zarzuela Châteaux Margaux, her beautiful voice complemented by irresistible stage ease. Del Cerro, for his part, impressed with his strong comic flair and his suitability as a lyric tenor.
Ópera Actual (06.10.25) · Agustín Arocha
(...) Her chemistry with Alejandro del Cerro was immediate: the tenor approached the impetuous Giuseppini with commitment and courage, displaying a suggestive warmth in the middle register and a clear projection. Their rapport culminated in a vibrant rendition of ‘No cantes más, La Africana’, which proved to be the highlight of the evening — a duet of impeccable rhythm, fine comic timing, and musical precision.
The duo formed by soprano Sofía Esparza and tenor Alejandro del Cerro — both vocally splendid — displayed boundless energy as La Antonelli and Giuseppini. Esparza enjoyed a particularly brilliant moment with her performance of Angelita’s waltz from the zarzuela Châteaux Margaux, her beautiful voice complemented by irresistible stage ease. Del Cerro, for his part, impressed with his strong comic flair and his suitability as a lyric tenor.
Ópera Actual (06.10.25) · Agustín Arocha
(...) Her chemistry with Alejandro del Cerro was immediate: the tenor approached the impetuous Giuseppini with commitment and courage, displaying a suggestive warmth in the middle register and a clear projection. Their rapport culminated in a vibrant rendition of ‘No cantes más, La Africana’, which proved to be the highlight of the evening — a duet of impeccable rhythm, fine comic timing, and musical precision.