La Bohème · Gran Teatre del Liceu (Barcelona)
Ópera Actual (17.06.21) · Marcelo Cervelló
The incorporation as Schaunard of a very active Josep-Ramon Olivé, one of the best elements of this second cast, was very successful.
The incorporation as Schaunard of a very active Josep-Ramon Olivé, one of the best elements of this second cast, was very successful.
Il barbiere di Siviglia · Teatro Villamarta (Jerez)
Ópera Actual (14.06.21) · Nicolás Montoya
Rossini's musical subtext was faithful to the principle of stripping its protagonists. Figaro's cavatina and its duets are typical of impudence. Bartolo's arias are slow and monotonous. Rossina's, fresh and playful. Those of the Count, full of romanticism and those of Don Basilio, tricksters.
The light tenor Quintin Bueno, making his debut in large roles, sang a Conde de Almaviva sure in the highs and with ductility, with power, also in the concertantes, and with a correct interpretation.
Codalario (14.06.21) · José Antonio Cantón
The general sensation that this production left was that of a representation that did not stop growing in comic intensity carried by the cleanliness and freshness of its score, very well understood from the podium (Carlos Aragón) and very correctly assumed its risks in singing each character, achieving a sparkling Barbiere.
Despite the need for a tuned vocal with a timbral character of the tenor Quintín Bueno when he entered the scene, this circumstance was soon overcome favored by the freshness of this score, as was later revealed in the duo «Alla'idea di quel metallo »from the first act with Figaro.
Scherzo (11.06.21) · Andrés Moreno Mengíbar
Carlos Aragón did a great job with the Malaga orchestra to achieve a light articulation, with little pressure on the strings and incisive attacks, until he extracted a wide range of colors from the strings. His tempi were always alive, without dropping the energy that Rossini's score gives off; the well-riveted accents and the characteristic crescendi regulated down to the millimeter. The time bomb that is the primo finale exploded in an explosion of overwhelming musical force, just as Rossini would have liked. He listened with care to the voices, which he never covered up and which he managed to concert effectively in the ensemble numbers.
Platea Magazine (11.06.21) · Javier del Olivo Sanz
The conductor, Carlos Aragón, a regular in Villamarta productions, opted from the overture for slower times than usual. Without ever losing the tension, this tempi option allowed us to appreciate musical details that sometimes go unnoticed in more accelerated readings. Always attentive to his singers, he directed with precision and thought especially with reading him to make the work of the scene easier.
Quintín Bueno fulfilled his complicated role, which has so many interventions throughout the work, but he did not shine like the rest of his companions. It should be noted that he attacked with ease the most committed highs in which he proved to be the possessor of an enviable trust and that he was willful in acting.
Rossini's musical subtext was faithful to the principle of stripping its protagonists. Figaro's cavatina and its duets are typical of impudence. Bartolo's arias are slow and monotonous. Rossina's, fresh and playful. Those of the Count, full of romanticism and those of Don Basilio, tricksters.
The light tenor Quintin Bueno, making his debut in large roles, sang a Conde de Almaviva sure in the highs and with ductility, with power, also in the concertantes, and with a correct interpretation.
Codalario (14.06.21) · José Antonio Cantón
The general sensation that this production left was that of a representation that did not stop growing in comic intensity carried by the cleanliness and freshness of its score, very well understood from the podium (Carlos Aragón) and very correctly assumed its risks in singing each character, achieving a sparkling Barbiere.
Despite the need for a tuned vocal with a timbral character of the tenor Quintín Bueno when he entered the scene, this circumstance was soon overcome favored by the freshness of this score, as was later revealed in the duo «Alla'idea di quel metallo »from the first act with Figaro.
Scherzo (11.06.21) · Andrés Moreno Mengíbar
Carlos Aragón did a great job with the Malaga orchestra to achieve a light articulation, with little pressure on the strings and incisive attacks, until he extracted a wide range of colors from the strings. His tempi were always alive, without dropping the energy that Rossini's score gives off; the well-riveted accents and the characteristic crescendi regulated down to the millimeter. The time bomb that is the primo finale exploded in an explosion of overwhelming musical force, just as Rossini would have liked. He listened with care to the voices, which he never covered up and which he managed to concert effectively in the ensemble numbers.
Platea Magazine (11.06.21) · Javier del Olivo Sanz
The conductor, Carlos Aragón, a regular in Villamarta productions, opted from the overture for slower times than usual. Without ever losing the tension, this tempi option allowed us to appreciate musical details that sometimes go unnoticed in more accelerated readings. Always attentive to his singers, he directed with precision and thought especially with reading him to make the work of the scene easier.
Quintín Bueno fulfilled his complicated role, which has so many interventions throughout the work, but he did not shine like the rest of his companions. It should be noted that he attacked with ease the most committed highs in which he proved to be the possessor of an enviable trust and that he was willful in acting.
Viva la mamma · Teatro Real (Madrid)
Ópera World (12.06.21) · Germán García Tomás
Very toned voice that shows the tenor Alejandro del Cerro in the German Guglielmo, who once again wore his beautiful color and light mediums of Rossinian features in the aria that opens the second part before the empty theater.
Platea Magazine (10.06.21) · Gonzalo Lahoz
Alejandro del Cerro's Guglielmo was also a joy. A pleasure in creating a character, round, complete, coherent. Sensational in the comical side, where even the involuntary movement of hair accompanied him, and successful in the vocal, with a beautiful singing line, putting out an aria that appeared complicated.
Ópera Actual (10.06.21) · Mario Muñoz
Alejandro del Cerro stood out mainly in his ensemble numbers, something that is not easy in this opera. When it was his turn to defend bel canto, he did so without haste, although somewhat lacking in emotion.
Bachtrack (06.06.21) · Leonardo Mattana Ereño
Alejandro del Cerro (Guglielmo) was right at the beginning, he gave an exhilarating moment in his duet-duel with Mamma Agata and was correct in the melancholic aria of the second act.
Very toned voice that shows the tenor Alejandro del Cerro in the German Guglielmo, who once again wore his beautiful color and light mediums of Rossinian features in the aria that opens the second part before the empty theater.
Platea Magazine (10.06.21) · Gonzalo Lahoz
Alejandro del Cerro's Guglielmo was also a joy. A pleasure in creating a character, round, complete, coherent. Sensational in the comical side, where even the involuntary movement of hair accompanied him, and successful in the vocal, with a beautiful singing line, putting out an aria that appeared complicated.
Ópera Actual (10.06.21) · Mario Muñoz
Alejandro del Cerro stood out mainly in his ensemble numbers, something that is not easy in this opera. When it was his turn to defend bel canto, he did so without haste, although somewhat lacking in emotion.
Bachtrack (06.06.21) · Leonardo Mattana Ereño
Alejandro del Cerro (Guglielmo) was right at the beginning, he gave an exhilarating moment in his duet-duel with Mamma Agata and was correct in the melancholic aria of the second act.
El rey que rabió · Teatro de la Zarzuela (Madrid)
Codalario (12.06.21) · Raúl Chamorro
As always, very resolute on stage, with that feeling that those who feel comfortable on stage give, Ruth González as the page, with which she compensated for the modest sound presence in her number with the third act chorus.
Platea Magazine (11.06.21) · Gonzalo Lahoz
Among the rest of the secondary roles, all with a good vocal level, the page of Ruth González also stood out.
Scherzo (07.06.21) · Manuel García Franco
The show, not lacking in a good dose of histrionics, was complemented by other singing actors, among which Ruth González should be highlighted as the king's servant.
El País (04.06.21) · Jorge Fernández Guerra
As a complement, singing actors as sure as María José Suárez, Pep Molina or Ruth González.
Periodista digital (04.06.21) · José Catalán Deus
The secondary cast does not have many moments of brilliance, but (...) the light lyrical soprano Ruth González Mesa had them in that sparkling Page.
As always, very resolute on stage, with that feeling that those who feel comfortable on stage give, Ruth González as the page, with which she compensated for the modest sound presence in her number with the third act chorus.
Platea Magazine (11.06.21) · Gonzalo Lahoz
Among the rest of the secondary roles, all with a good vocal level, the page of Ruth González also stood out.
Scherzo (07.06.21) · Manuel García Franco
The show, not lacking in a good dose of histrionics, was complemented by other singing actors, among which Ruth González should be highlighted as the king's servant.
El País (04.06.21) · Jorge Fernández Guerra
As a complement, singing actors as sure as María José Suárez, Pep Molina or Ruth González.
Periodista digital (04.06.21) · José Catalán Deus
The secondary cast does not have many moments of brilliance, but (...) the light lyrical soprano Ruth González Mesa had them in that sparkling Page.
Tránsito · Naves Español Matadero (Madrid)
Platea Magazine (01.06.21) · Enrique Bert
María Miró, unpolluted in black in her eternal widowhood, has to endow her character with pain and dignity and it seemed to me the most appropriate voice of the night: strong, without fuss, endowing the role with the necessary dignity. Very well.
Scherzo (31.05.21) · Santiago Martín Bermúdez
María Miró shows the highest dramatic side of the action with excellent vocal resources and a very measured histrionic dimension.
Ópera Actual (31.05.21) · José María Marco
In a functional staging, in black and white, but very effective and with an excellent set of actors - all by Eduardo Vasco - the five singers fulfilled their mission. (...) The soprano María Miró, who was able to show off timbral beauty, breadth of register and expressiveness like Cruz, the Spanish wife.
El Mundo (30.05.21) · Santiago Martín Bermúdez
(...) The singers make a remarkable effort that is largely divided between Isaac Galán and María Miró.
El País (30.05.21) · Jorge Fernández Guerra
(...) As for the soprano María Miró, in the role of Cruz, she creates a splendid vocal figure from a backpack of pain and endurance.
Periodista digital (30.05.21) · José Catalán Deus
The cast is homogeneous and convincing in its two facets, vocal and acting, and in both we believe that the Cruz de María Miró stands out.
María Miró, unpolluted in black in her eternal widowhood, has to endow her character with pain and dignity and it seemed to me the most appropriate voice of the night: strong, without fuss, endowing the role with the necessary dignity. Very well.
Scherzo (31.05.21) · Santiago Martín Bermúdez
María Miró shows the highest dramatic side of the action with excellent vocal resources and a very measured histrionic dimension.
Ópera Actual (31.05.21) · José María Marco
In a functional staging, in black and white, but very effective and with an excellent set of actors - all by Eduardo Vasco - the five singers fulfilled their mission. (...) The soprano María Miró, who was able to show off timbral beauty, breadth of register and expressiveness like Cruz, the Spanish wife.
El Mundo (30.05.21) · Santiago Martín Bermúdez
(...) The singers make a remarkable effort that is largely divided between Isaac Galán and María Miró.
El País (30.05.21) · Jorge Fernández Guerra
(...) As for the soprano María Miró, in the role of Cruz, she creates a splendid vocal figure from a backpack of pain and endurance.
Periodista digital (30.05.21) · José Catalán Deus
The cast is homogeneous and convincing in its two facets, vocal and acting, and in both we believe that the Cruz de María Miró stands out.
The Dresden Court · National Music Auditorium (Madrid)
Scherzo (09.05.21) · Eduardo Torrico
Genaux brings together all the skills that are needed to succeed in this repertoire, starting with those colors and agilities that only she is capable of developing. But she, in addition to all those technical tools, she has something that is available to very few: the intelligence necessary to always put the public in the pocket. (...) Genaux reaped a resounding triumph last night. Few times has the public connoisseur of the CNDM's Baroque Universe cycle been seen so fired up. The applause and the 'bravos' were louder and more prolonged than ever. (...) But surely this apotheosis would not have been so ostensible if Genaux had not been supported by an orchestra as magnificent as Vespres d’Arnadí. This formation, although not as lavish as others, is one of the most glittering jewels in the crown of early Spanish music.
Codalario (19.05.21) · David Santana
His arias (Hasse) fully serve a melody that allows to bask in the highs with some pyrotechnic exercises in which the mezzo-soprano Vivica Genaux knew, without a doubt, to stand out. Vespres d’Arnadí was fortunate to have an American soprano with a long and successful track record in the vocally complex repertoire of both Rossini and the Baroque. Throughout the program, she was able to show some chirps, trills, rattles and dizzying ascending and descending scales that conquered the public. We could also appreciate an interesting use of nuances and even timbral changes to highlight the repetitions in different registers, something that could be heard very beautifully and clearly in the tip: 'Como nave in mezzo all'onde' from Viriate by Nicola Porpora.
Genaux brings together all the skills that are needed to succeed in this repertoire, starting with those colors and agilities that only she is capable of developing. But she, in addition to all those technical tools, she has something that is available to very few: the intelligence necessary to always put the public in the pocket. (...) Genaux reaped a resounding triumph last night. Few times has the public connoisseur of the CNDM's Baroque Universe cycle been seen so fired up. The applause and the 'bravos' were louder and more prolonged than ever. (...) But surely this apotheosis would not have been so ostensible if Genaux had not been supported by an orchestra as magnificent as Vespres d’Arnadí. This formation, although not as lavish as others, is one of the most glittering jewels in the crown of early Spanish music.
Codalario (19.05.21) · David Santana
His arias (Hasse) fully serve a melody that allows to bask in the highs with some pyrotechnic exercises in which the mezzo-soprano Vivica Genaux knew, without a doubt, to stand out. Vespres d’Arnadí was fortunate to have an American soprano with a long and successful track record in the vocally complex repertoire of both Rossini and the Baroque. Throughout the program, she was able to show some chirps, trills, rattles and dizzying ascending and descending scales that conquered the public. We could also appreciate an interesting use of nuances and even timbral changes to highlight the repetitions in different registers, something that could be heard very beautifully and clearly in the tip: 'Como nave in mezzo all'onde' from Viriate by Nicola Porpora.
Sonya Yoncheva in concert · Teatro de la Zarzuela (Madrid)
Scherzo (02.05.21) · Manuel García Franco
Another of the great moments of the recital was the superb collaboration of the Santanderino tenor Alejandro del Cerro, who, aware of the 'partner' that he had at his side, made possible for us to listen to a masterful interpretation of the duet of the second act between Rafael 'el Macareno' and Soleá from Manuel Penella's El gato montés, which concludes with the resounding pasodoble.
ABC (01.05.21) · Alberto González Puente
(...) There were two very clear highlights. The first was the duo of 'El gato montés' by Penella, who performed with tenor Alejandro del Cerro, resounding, seamless, using up faculties and energy, which placed both in an outstanding position and raised the general tension.
Ópera World (01.05.21) · Majo Pérez
The second part, with a predominantly cheerful character, started with the duet of El gato montés '¡Vaya una noche bonita', which counted on the collaboration of tenor Alejandro del Cerro, whom we had recently been listened as Javier de Luisa Fernanda in this same theater. The Cantabrian was extraordinary in his role as Rafaelillo, and between him and the Bulgarian there was complicity and spark despite the preventive distance. His interpretation was devoid of mannerisms, focusing on expressing with grace what the text says.
Ópera Actual (30.04.21) · José María Marco
(...) Nor it is easy for a voice as big as Yoncheva's to adapt to the mischief and misunderstandings of the duo of El gato montés, in which she had the excellent collaboration of an Alejandro del Cerro in a state of grace, singing and interpretation.
Platea Magazine (30.04.21) · Gonzalo Lahoz
For Penella's El gato montés, the soprano had a partner of many carats, the tenor Alejandro del Cerro, who displayed a punchy voice for what the role requires, but without 'zapatazo', as it is usually sung. Luminous timbre, wide voice, complete character in a few minutes. For reasons that are not relevant, this is a work with which, beyond the musical, I do not connect at all and, having listened this duet on numerous occasions, it is without a doubt the time I have enjoyed it the most. And without bullfights or shawls, something that others surely not, but I am grateful.
Codalario (30.04.21) · Raúl Chamorro Mena
The second part, without break, began with the appearance of an outspoken Alejandro del Cerro, who phrased in a vibrant and charming way the 'Vaya una tarde bonita' that serves as a portico to the flamboyant duet of Soleá and Rafael from El gato montés, which was suitably incandescent - including orchestra and baton - despite the distance between the singers.
Beckmesser (30.04.21) · Gonzalo Alonso
(...) Much merit (Yoncheva) singing (...) the duet of 'El Gato Montés' with an impeccable Alejandro del Cerro.
Another of the great moments of the recital was the superb collaboration of the Santanderino tenor Alejandro del Cerro, who, aware of the 'partner' that he had at his side, made possible for us to listen to a masterful interpretation of the duet of the second act between Rafael 'el Macareno' and Soleá from Manuel Penella's El gato montés, which concludes with the resounding pasodoble.
ABC (01.05.21) · Alberto González Puente
(...) There were two very clear highlights. The first was the duo of 'El gato montés' by Penella, who performed with tenor Alejandro del Cerro, resounding, seamless, using up faculties and energy, which placed both in an outstanding position and raised the general tension.
Ópera World (01.05.21) · Majo Pérez
The second part, with a predominantly cheerful character, started with the duet of El gato montés '¡Vaya una noche bonita', which counted on the collaboration of tenor Alejandro del Cerro, whom we had recently been listened as Javier de Luisa Fernanda in this same theater. The Cantabrian was extraordinary in his role as Rafaelillo, and between him and the Bulgarian there was complicity and spark despite the preventive distance. His interpretation was devoid of mannerisms, focusing on expressing with grace what the text says.
Ópera Actual (30.04.21) · José María Marco
(...) Nor it is easy for a voice as big as Yoncheva's to adapt to the mischief and misunderstandings of the duo of El gato montés, in which she had the excellent collaboration of an Alejandro del Cerro in a state of grace, singing and interpretation.
Platea Magazine (30.04.21) · Gonzalo Lahoz
For Penella's El gato montés, the soprano had a partner of many carats, the tenor Alejandro del Cerro, who displayed a punchy voice for what the role requires, but without 'zapatazo', as it is usually sung. Luminous timbre, wide voice, complete character in a few minutes. For reasons that are not relevant, this is a work with which, beyond the musical, I do not connect at all and, having listened this duet on numerous occasions, it is without a doubt the time I have enjoyed it the most. And without bullfights or shawls, something that others surely not, but I am grateful.
Codalario (30.04.21) · Raúl Chamorro Mena
The second part, without break, began with the appearance of an outspoken Alejandro del Cerro, who phrased in a vibrant and charming way the 'Vaya una tarde bonita' that serves as a portico to the flamboyant duet of Soleá and Rafael from El gato montés, which was suitably incandescent - including orchestra and baton - despite the distance between the singers.
Beckmesser (30.04.21) · Gonzalo Alonso
(...) Much merit (Yoncheva) singing (...) the duet of 'El Gato Montés' with an impeccable Alejandro del Cerro.