Lucia di Lammermoor · Gran Teatre del Liceu (Barcelona)
Platea Magazine (18.07.21) · Alejandro Martínez
Good job as a whole by the cast of 'comprimarios', highlighting (...) Emmanuel Faraldo (Arturo).
Ópera Actual (17.07.21) · Fernando Sans Rivière
The Argentine tenor Emmanuel Faraldo also stood out (...).
Good job as a whole by the cast of 'comprimarios', highlighting (...) Emmanuel Faraldo (Arturo).
Ópera Actual (17.07.21) · Fernando Sans Rivière
The Argentine tenor Emmanuel Faraldo also stood out (...).
Werther · Staatsoper Stuttgart
Frankfurter Allgemeine Zeitung (13.07.21) · Von Jan Brachmann
Albert is also excellently cast with the Polish baritone Paweł Konik. He exudes a vocal nobility (...).
Klassik begeistert (14.07.21) · Andreas Schmidt
Paweł Konik, baritone, born in Cieszyn, Poland. What a voice! It sits in the body and yet it frees itself and nests itself in every corner of the house. Bravo! A delightful choice worth coming back for!
Albert is also excellently cast with the Polish baritone Paweł Konik. He exudes a vocal nobility (...).
Klassik begeistert (14.07.21) · Andreas Schmidt
Paweł Konik, baritone, born in Cieszyn, Poland. What a voice! It sits in the body and yet it frees itself and nests itself in every corner of the house. Bravo! A delightful choice worth coming back for!
Tosca · Teatro Real (Madrid)
Ópera Actual (09.07.21) · Gonzalo Lahoz
Among the compressaries, I should highlight the Angelotti by Gerardo Bullón, an artist who has me more and more obsessed with the honesty and category not only of his instrument, but of his career, without the absurd impositions of so many colleagues for wanting to achieve greater fame. His song is art, his exalted means. Nothing else.
Codalario (09.07.21) · Raúl Chamorro Mena
Entre los secundarios corresponde destacar el Angelotti del barítono Gerardo Bullón, herido en la pierna en este montaje y que, siempre aplicado en lo interpretativo, debe cantar sus frases introductorias de la ópera tumbado de espaldas y totalmente horizontal, lo que no fue obstáculo para que su timbre atractivo y de apreciable caudal corriera por la sala.
Among the compressaries, I should highlight the Angelotti by Gerardo Bullón, an artist who has me more and more obsessed with the honesty and category not only of his instrument, but of his career, without the absurd impositions of so many colleagues for wanting to achieve greater fame. His song is art, his exalted means. Nothing else.
Codalario (09.07.21) · Raúl Chamorro Mena
Entre los secundarios corresponde destacar el Angelotti del barítono Gerardo Bullón, herido en la pierna en este montaje y que, siempre aplicado en lo interpretativo, debe cantar sus frases introductorias de la ópera tumbado de espaldas y totalmente horizontal, lo que no fue obstáculo para que su timbre atractivo y de apreciable caudal corriera por la sala.
El Gato Montés · Teatro Campoamor (Oviedo)
Ópera Actual (28.06.21) · Pablo Gallego
The space is the arena and the house, and the prison in which Soleá is enclosed, embodied by the soprano Nicola Beller Carbone. Her devoted performance, vocally and scenic, produces a magnetic field that makes the gypsy girl's fiery suffering credible.
Opera World (28.06.21) · Alejandro G. Villalibre
Nicola Beller Carbone (Soleá) showed that it is a repertoire that perfectly adjusts to her singing and acting abilities.
The space is the arena and the house, and the prison in which Soleá is enclosed, embodied by the soprano Nicola Beller Carbone. Her devoted performance, vocally and scenic, produces a magnetic field that makes the gypsy girl's fiery suffering credible.
Opera World (28.06.21) · Alejandro G. Villalibre
Nicola Beller Carbone (Soleá) showed that it is a repertoire that perfectly adjusts to her singing and acting abilities.
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.