La voix humaine · Espacio Garage Lola (Madrid)
Beckmesser (19.01.23) · Arturo Reverter
Hers (Nicola Beller Carbone) has been and is the voice of a wide lyric soprano with spinto edges, not specifically beautiful, but with a great personality, with a not very full bass, a wide and sonorous centre and a well projected treble, somewhat lacking in roundness at her age, but perfectly supported. She has a very solid technique which allows her to phrase with ease and elegance and to establish a very demanding vocal line full of intervallic leaps and passing dissonances in the agile and contrasting tonal-rooted language of the composer, who masterfully describes the drama of the woman who feels abandoned through a discourse without fainting.
(...)
She (Beller Carbone) was precisely the stage director on this occasion, which takes place in the dressing room of a singer about to go on stage and who struggles with the unexpected situation. Her pain and anguish go hand in hand with expression. An attractive proposal of theatre within theatre in which reality and the imaginary are mixed.
Hers (Nicola Beller Carbone) has been and is the voice of a wide lyric soprano with spinto edges, not specifically beautiful, but with a great personality, with a not very full bass, a wide and sonorous centre and a well projected treble, somewhat lacking in roundness at her age, but perfectly supported. She has a very solid technique which allows her to phrase with ease and elegance and to establish a very demanding vocal line full of intervallic leaps and passing dissonances in the agile and contrasting tonal-rooted language of the composer, who masterfully describes the drama of the woman who feels abandoned through a discourse without fainting.
(...)
She (Beller Carbone) was precisely the stage director on this occasion, which takes place in the dressing room of a singer about to go on stage and who struggles with the unexpected situation. Her pain and anguish go hand in hand with expression. An attractive proposal of theatre within theatre in which reality and the imaginary are mixed.
Hamlet · Teatro Campoamor (Oviedo)
Platea Magazine (21.12.22) · Javier Labrada
Alejandro del Cerro did a more than adequate job with the role of Laërte, somewhat thankless and more vocally complex than it might at first appear.
Revista Musical Catalana (12.12.22) · Rosa Massagué
A pleasant surprise was the tenor Alejandro del Cerro singing Laerte.
Opera World (09.12.22) · Pablo Álvarez Siana
Laërte's appearances were brief but the Santander-born Alejandro del Cerro was convincing, a confident tenor with brilliant colour who also has the virtue of matching well with all the voices in the cast, as well as a scene where he is fluent.
The Palencia-born Javier Castañeda as the spectre of the deceased king, astonishing in every appearance from the trapdoor in the floor to the stalls in the finale, filling with surprises a role that once again brought dead people to the Campoamor very much alive and sung without problems.
Ópera Actual (09.12.22) · Cosme Marina
Alejandro del Cerro's Laërte was also very good, with impeccable workmanship.
Alejandro del Cerro did a more than adequate job with the role of Laërte, somewhat thankless and more vocally complex than it might at first appear.
Revista Musical Catalana (12.12.22) · Rosa Massagué
A pleasant surprise was the tenor Alejandro del Cerro singing Laerte.
Opera World (09.12.22) · Pablo Álvarez Siana
Laërte's appearances were brief but the Santander-born Alejandro del Cerro was convincing, a confident tenor with brilliant colour who also has the virtue of matching well with all the voices in the cast, as well as a scene where he is fluent.
The Palencia-born Javier Castañeda as the spectre of the deceased king, astonishing in every appearance from the trapdoor in the floor to the stalls in the finale, filling with surprises a role that once again brought dead people to the Campoamor very much alive and sung without problems.
Ópera Actual (09.12.22) · Cosme Marina
Alejandro del Cerro's Laërte was also very good, with impeccable workmanship.
Cavalleria rusticana · Teatro Cervantes (Málaga)
Beckmesser (28.11.22) · Andrés Moreno Mengíbar
And it was a pleasant surprise to meet Cristina del Barrio's Lola, with her luminous timbre, firm emission and ease of phrasing.
Ópera Actual (28.11.22) · Alejandro Fernández
Cristina del Barrio's Lola was well resolved, notable in the high notes.
And it was a pleasant surprise to meet Cristina del Barrio's Lola, with her luminous timbre, firm emission and ease of phrasing.
Ópera Actual (28.11.22) · Alejandro Fernández
Cristina del Barrio's Lola was well resolved, notable in the high notes.
Il trittico · Gran Teatre del Liceu (Barcelona)
Opera World (04.12.22) · Félix de la Fuente
(Il tabarro) Great the rest of the supporting singers (Mireia Pintó) in a perfectly homogeneous ensemble.
(Suor Angelica) Again, the secondaries (Mireia Pintó and Marta Infante) did not lower the bar at any time.
Beckmesser (03.12.22) · José María Irurzun
(Il tabarro) Mireia Pintó did well.
(Suor Angelica) Correct again the interpreters of the secondary characters, among whom I would point out María Luisa Corbacho (Mother Abbess) and Mireia Pintó as Sister Cellatore.
Scherzo (01.12.22) · Xavier Parera
(Il tabarro) (...) The Colombian bass Valeriano Lanchas as the sonorous Il Talpa and the mezzo-soprano Mireia Pinto, who also took on the parts of Sister Cellatrice and La Ciesca in the other two operas in the staging, joined with skill and stage presence.
(Suor Angelica) The level was also very high in the rest of the cast: Marta Infante, Carolina Fajardo, Berna Perles, Laura Vila, Mar Morán and the aforementioned Mireia Pintó.
(Gianni Schicchi) Once again, we must applaud the excellent teamwork - under Mälkki's masterful accompaniment - of a seamless cast with superb performances by (...) Pintó (La Ciesca).
Ópera Actual (29.11.22) · Fernando Sans Rivière
(Il tabarro) The rest of the cast is very adequate, with special mention of Valeriano Lanchas' Talpa and Mireia Pintó's Frugola.
Platea Magazine (28.11.22) · Javier del Olivo
(Il tabarro) Good work also by the comprimarios, counterpoint and complement to the main tragedy, with special mention for Pablo García-López's Tinca, Mireia Pintó's Frugola, and Valeriano Lanchas as Il Talpa.
Ara (27.11.22) · Jaume Radigales
(Suor Angelica) All this without detracting (...) from the performances in various roles by home-grown talents such as Marta Infante.
El Periódico de Cataluña (27.11.22) · Pablo Meléndez-Haddad
Mercedes Gancedo and Berna Perles stood out in their roles, as did Brandon Jovanovich, Marc Sala and the acclaimed Stefano Palatchi, outstanding voices joined by the chameleon-like Mireia Pintó, who moved seamlessly through the three titles.
(Il tabarro) Great the rest of the supporting singers (Mireia Pintó) in a perfectly homogeneous ensemble.
(Suor Angelica) Again, the secondaries (Mireia Pintó and Marta Infante) did not lower the bar at any time.
Beckmesser (03.12.22) · José María Irurzun
(Il tabarro) Mireia Pintó did well.
(Suor Angelica) Correct again the interpreters of the secondary characters, among whom I would point out María Luisa Corbacho (Mother Abbess) and Mireia Pintó as Sister Cellatore.
Scherzo (01.12.22) · Xavier Parera
(Il tabarro) (...) The Colombian bass Valeriano Lanchas as the sonorous Il Talpa and the mezzo-soprano Mireia Pinto, who also took on the parts of Sister Cellatrice and La Ciesca in the other two operas in the staging, joined with skill and stage presence.
(Suor Angelica) The level was also very high in the rest of the cast: Marta Infante, Carolina Fajardo, Berna Perles, Laura Vila, Mar Morán and the aforementioned Mireia Pintó.
(Gianni Schicchi) Once again, we must applaud the excellent teamwork - under Mälkki's masterful accompaniment - of a seamless cast with superb performances by (...) Pintó (La Ciesca).
Ópera Actual (29.11.22) · Fernando Sans Rivière
(Il tabarro) The rest of the cast is very adequate, with special mention of Valeriano Lanchas' Talpa and Mireia Pintó's Frugola.
Platea Magazine (28.11.22) · Javier del Olivo
(Il tabarro) Good work also by the comprimarios, counterpoint and complement to the main tragedy, with special mention for Pablo García-López's Tinca, Mireia Pintó's Frugola, and Valeriano Lanchas as Il Talpa.
Ara (27.11.22) · Jaume Radigales
(Suor Angelica) All this without detracting (...) from the performances in various roles by home-grown talents such as Marta Infante.
El Periódico de Cataluña (27.11.22) · Pablo Meléndez-Haddad
Mercedes Gancedo and Berna Perles stood out in their roles, as did Brandon Jovanovich, Marc Sala and the acclaimed Stefano Palatchi, outstanding voices joined by the chameleon-like Mireia Pintó, who moved seamlessly through the three titles.
La resurrezione · L'Auditori (Barcelona)
El Punt Diari (29.11.22) · Oriol Pérez Treviño
That the ensemble led by Dani Espasa on the harpsichord has become the country's leading baroque orchestra is undeniable.
La Vanguardia (28.11.22) · Jordi Maddaleno
The ensemble of original instruments and historicist criteria, Vespres d'Arnadí, once again demonstrated its superb form. The artistic performances were of the highest level, beginning with the baton of the principal conductor and founder of the ensemble, Dani Espasa. The Catalan musician raised the level of his interpretations, as well as the quality of the ensemble, exponentially. His reading of the first sacred oratorio of the young Händel's time in Italy was seasoned with verve and lyricism.
The continuous contrast of rhythm, the search for colours, nuances and dissonances, typical of the best baroque, underlined them, doing justice to the magnificent score. The rich and original instrumentation, the timbres and the colours, were best interpreted by an ensemble that has among its ranks great soloists. The concertino Farran Sylvan James, the viola da gamba of José Manuel Quintana and the cello of Oriol Aymat are some of the best examples.
Revista Musical Catalana (26.11.22) · Lluís Trullén
Adding a set of factors that are favourable is sure to favour a final result of optimum quality (...). An interpretative triumph in which Dani Espasa's ability to unite voices and different instrumental groups in the arias stood out. The violins in unison accompanying Sabata's voice in the aria 'Augeletti ruscelleti', or the work of the flute and viola da gamba in 'Firma el ali, e sui misi lumi', with the delightful voice of an exceptional Sunhae Im as Mary Magdalene, would be two examples of this sonorous balance achieved between voices and instrumental accompaniment. Dani Espasa, year after year, with this team that makes up Vespres d'Arnadí, is achieving results of a solidity, depth and musicological work that are certainly admirable, which we can compare with the reference versions bequeathed by Nicholas McGegan, Mark Minkowski or Trevor Pinnock, much more richly nourished at the instrumental level.
ABC (25.11.22) · Pep Gorgori
Last Wednesday we had the chance to witness at L'Auditori de Barcelona a display of talent that makes us proud of the performers we have close to us. The ensemble Vespres d'Arnadí, with its conductor Daniel Espasa at the helm and a cast of more than solvent soloists, tackled the oratorio 'La resurrezione' by Händel.
(...)
Daniel Espasa is probably one of the greatest musical minds in the country. This is not hyperbole: his genius is evident whatever he does. At the harpsichord, at the organ, at the piano, in chamber music, at the head of his 'Vespres'.... Music that he plays, music that is automatically turned into gold for the ears of the public.
(...)
Of the instrumental ensemble, many successes could be mentioned, but let's keep one: the absolute rapport between the concertmaster Farran Sylvan James and the violagambist Juan Manuel Quintana, which was fundamental in the work of the rest of the group.
That the ensemble led by Dani Espasa on the harpsichord has become the country's leading baroque orchestra is undeniable.
La Vanguardia (28.11.22) · Jordi Maddaleno
The ensemble of original instruments and historicist criteria, Vespres d'Arnadí, once again demonstrated its superb form. The artistic performances were of the highest level, beginning with the baton of the principal conductor and founder of the ensemble, Dani Espasa. The Catalan musician raised the level of his interpretations, as well as the quality of the ensemble, exponentially. His reading of the first sacred oratorio of the young Händel's time in Italy was seasoned with verve and lyricism.
The continuous contrast of rhythm, the search for colours, nuances and dissonances, typical of the best baroque, underlined them, doing justice to the magnificent score. The rich and original instrumentation, the timbres and the colours, were best interpreted by an ensemble that has among its ranks great soloists. The concertino Farran Sylvan James, the viola da gamba of José Manuel Quintana and the cello of Oriol Aymat are some of the best examples.
Revista Musical Catalana (26.11.22) · Lluís Trullén
Adding a set of factors that are favourable is sure to favour a final result of optimum quality (...). An interpretative triumph in which Dani Espasa's ability to unite voices and different instrumental groups in the arias stood out. The violins in unison accompanying Sabata's voice in the aria 'Augeletti ruscelleti', or the work of the flute and viola da gamba in 'Firma el ali, e sui misi lumi', with the delightful voice of an exceptional Sunhae Im as Mary Magdalene, would be two examples of this sonorous balance achieved between voices and instrumental accompaniment. Dani Espasa, year after year, with this team that makes up Vespres d'Arnadí, is achieving results of a solidity, depth and musicological work that are certainly admirable, which we can compare with the reference versions bequeathed by Nicholas McGegan, Mark Minkowski or Trevor Pinnock, much more richly nourished at the instrumental level.
ABC (25.11.22) · Pep Gorgori
Last Wednesday we had the chance to witness at L'Auditori de Barcelona a display of talent that makes us proud of the performers we have close to us. The ensemble Vespres d'Arnadí, with its conductor Daniel Espasa at the helm and a cast of more than solvent soloists, tackled the oratorio 'La resurrezione' by Händel.
(...)
Daniel Espasa is probably one of the greatest musical minds in the country. This is not hyperbole: his genius is evident whatever he does. At the harpsichord, at the organ, at the piano, in chamber music, at the head of his 'Vespres'.... Music that he plays, music that is automatically turned into gold for the ears of the public.
(...)
Of the instrumental ensemble, many successes could be mentioned, but let's keep one: the absolute rapport between the concertmaster Farran Sylvan James and the violagambist Juan Manuel Quintana, which was fundamental in the work of the rest of the group.
Capriccio · Espacio Turina (Seville)
Beckmesser (22.11.22) · Andrés Moreno Mengíbar
It will be difficult to repeat the possibility of hearing Vivica Genaux again in an intimate recital designed expressly for her to give all that she treasures as a singer and as an artist. (...) Genaux showed her true colours in terms of control of the voice and her capacity for coloratura and ornamentation. On a voice of very personal and unmistakable tints, dense, corporeal, deep in the bass and shining in the highs, with shaded tones ('voix sombrée', as the Malibrán's brother, Manuel Patricio García, called it) but with a perfect projection, Genaux deployed all the ornamental pyrotechnics that she masters like few singers. (...) This is where the true artist is discovered in comparison with the mere mechanical display.
El Correo de Andalucía (20.11.22) · Juan José Roldán
Hers (Vivica Genaux's) is not only a mere musical interpretation but a paragon of acting, full of contrasts, comic when the occasion demands it, serious and tormented at other times, always perfect in attitude and register. Not to mention her colouratura, capable of the most circus-like agilities.
(...)
In short, an unforgettable evening, with an extremely elegant singer in singing, interpretation, attitude and attire, and with the unbeatable collaboration of Gigi Pinardi, who brought to the ensemble a delicacy and ductility not within the reach of any performer, always in perfect harmony and balanced dialogue with this not at all capricious diva, capable of passing with flying colours the examination to which such a demanding and varied programme subjected her.
ABC (20.11.22) · Carlos Tarín
These high notes were reached with ease by Vivica Genaux, demonstrating a mastery of articulation even in the fastest vocal passages (...) Genaux left a good taste in the mouth, with a smile that was not lost, great naturalness, a wide variety of resources and plenty of affection and affection.
It will be difficult to repeat the possibility of hearing Vivica Genaux again in an intimate recital designed expressly for her to give all that she treasures as a singer and as an artist. (...) Genaux showed her true colours in terms of control of the voice and her capacity for coloratura and ornamentation. On a voice of very personal and unmistakable tints, dense, corporeal, deep in the bass and shining in the highs, with shaded tones ('voix sombrée', as the Malibrán's brother, Manuel Patricio García, called it) but with a perfect projection, Genaux deployed all the ornamental pyrotechnics that she masters like few singers. (...) This is where the true artist is discovered in comparison with the mere mechanical display.
El Correo de Andalucía (20.11.22) · Juan José Roldán
Hers (Vivica Genaux's) is not only a mere musical interpretation but a paragon of acting, full of contrasts, comic when the occasion demands it, serious and tormented at other times, always perfect in attitude and register. Not to mention her colouratura, capable of the most circus-like agilities.
(...)
In short, an unforgettable evening, with an extremely elegant singer in singing, interpretation, attitude and attire, and with the unbeatable collaboration of Gigi Pinardi, who brought to the ensemble a delicacy and ductility not within the reach of any performer, always in perfect harmony and balanced dialogue with this not at all capricious diva, capable of passing with flying colours the examination to which such a demanding and varied programme subjected her.
ABC (20.11.22) · Carlos Tarín
These high notes were reached with ease by Vivica Genaux, demonstrating a mastery of articulation even in the fastest vocal passages (...) Genaux left a good taste in the mouth, with a smile that was not lost, great naturalness, a wide variety of resources and plenty of affection and affection.
Invisibili · Auditorio Nacional de Música (Madrid)
Scherzo (11.10.22) · Eduardo Torrico
Its repeated presence in recent years in the Universo Barroco of the Centro Nacional de Difusión Musical (CNDM) has made Vespres d'Arnadí one of the favourite ensembles of the faithful and knowledgeable audience of this cycle. Whether it comes in large or small format - as was the case with last night's concert - the ensemble led by Dani Espasa always ends up with cheers and praise. A close and sincere bond has been established, which hopefully will be prolonged in time, because each proposal by the Barcelona group is always most interesting and stimulating.
(...)
The orchestra was magnificent throughout, made up of three first violins (with Sylvan James at the front), two second violins (with the great Luca Giardini as luxury reinforcement for the occasion), viola, cello, double bass, archlute and harpsichord, as well as the oboe of Pere Saragossa, who played an outstanding and brilliant role in a couple of arias alongside Sabata.
Its repeated presence in recent years in the Universo Barroco of the Centro Nacional de Difusión Musical (CNDM) has made Vespres d'Arnadí one of the favourite ensembles of the faithful and knowledgeable audience of this cycle. Whether it comes in large or small format - as was the case with last night's concert - the ensemble led by Dani Espasa always ends up with cheers and praise. A close and sincere bond has been established, which hopefully will be prolonged in time, because each proposal by the Barcelona group is always most interesting and stimulating.
(...)
The orchestra was magnificent throughout, made up of three first violins (with Sylvan James at the front), two second violins (with the great Luca Giardini as luxury reinforcement for the occasion), viola, cello, double bass, archlute and harpsichord, as well as the oboe of Pere Saragossa, who played an outstanding and brilliant role in a couple of arias alongside Sabata.
Roberto Devereux · Teatro de la Maestranza (Seville)
Mundo Clásico (14.11.22) · Pedro Coco
The minor roles, especially the tenor Alejandro del Cerro, were judiciously selected.
Codalario (13.11.22) · José Amador Morales
Exceptional Alejandro del Cerro as Lord Cecil as well as Javier Castañeda and Ricardo Llamas in their respective roles.
Scherzo (11.11.22) · Jacobo Cortines
Very professional, the others: Alejandro del Cerro, Javier Castañeda and Ricardo Llamas.
Platea Magazine (10.11.22) · Javier del Olivo
The reduced group of secondary roles (Alejandro del Cerro, Javier Castañeda and Ricardo Llamas) were very good, fulfilling their short roles very well.
Ópera Actual (10.11.22) · Ismael G. Cabral
A good group of secondary roles, with a specific mention for Alejandro del Cerro.
Diario de Sevilla (09.11.22) · Andrés Moreno Mengíbar
Superb supporting singers (especially Alejandro del Cerro).
The minor roles, especially the tenor Alejandro del Cerro, were judiciously selected.
Codalario (13.11.22) · José Amador Morales
Exceptional Alejandro del Cerro as Lord Cecil as well as Javier Castañeda and Ricardo Llamas in their respective roles.
Scherzo (11.11.22) · Jacobo Cortines
Very professional, the others: Alejandro del Cerro, Javier Castañeda and Ricardo Llamas.
Platea Magazine (10.11.22) · Javier del Olivo
The reduced group of secondary roles (Alejandro del Cerro, Javier Castañeda and Ricardo Llamas) were very good, fulfilling their short roles very well.
Ópera Actual (10.11.22) · Ismael G. Cabral
A good group of secondary roles, with a specific mention for Alejandro del Cerro.
Diario de Sevilla (09.11.22) · Andrés Moreno Mengíbar
Superb supporting singers (especially Alejandro del Cerro).
Aida · Teatro Real (Madrid)
Platea Magazine (05.11.22) · Gonzalo Lahoz
The cast was rounded off by Alexander Vinogradov's outstanding Ramfis, with a strong voice and brilliance, as well as the wonderful Fabián Lara and Jacquelina Livieri as the messenger and priestess.
Opera World (30.10.22) · María Pardo
The cast is rounded off by the soprano Jacquelina Livieri as the great priestess, with vocal competence and skill.
Scherzo (27.10.22) · Fernando Fraga
(...) Jacquelina Livieri, a priestess who is well suited to the part.
Beckmesser (26.10.22) · José María Irurzun
In the outline characters, the good voice of Fabián Lara in the part of the Messenger and the performance of Marta Bauza (actually Jaquelina Livieri) as the Priestess should be noted.
Ópera Actual (25.10.22) · José María Marco
Good the priestess of Jaquelina Livieri.
The cast was rounded off by Alexander Vinogradov's outstanding Ramfis, with a strong voice and brilliance, as well as the wonderful Fabián Lara and Jacquelina Livieri as the messenger and priestess.
Opera World (30.10.22) · María Pardo
The cast is rounded off by the soprano Jacquelina Livieri as the great priestess, with vocal competence and skill.
Scherzo (27.10.22) · Fernando Fraga
(...) Jacquelina Livieri, a priestess who is well suited to the part.
Beckmesser (26.10.22) · José María Irurzun
In the outline characters, the good voice of Fabián Lara in the part of the Messenger and the performance of Marta Bauza (actually Jaquelina Livieri) as the Priestess should be noted.
Ópera Actual (25.10.22) · José María Marco
Good the priestess of Jaquelina Livieri.
Fuenteovejuna · Auditorio de Tenerife
Ópera Actual (23.10.22) · Estrella Ortega
Soprano María Miró gave an excellent performance as Laurencia, a character who, bloodied and inflamed by anger at being raped, confronts her countrymen, reproaches them and demands revenge. This is the crux of the work: without this convincing scene the story would make no sense.
Bachtrack (21.10.22) · Francisco Martínez Ramos
The solo singers were also very adequate, both vocally and dramatically, with Maria Miró's stellar performance as Laurencia standing out. A soprano of great dramatic vein, with power and vocal mastery, she managed to exemplarily reflect the vicissitudes of the character.
Soprano María Miró gave an excellent performance as Laurencia, a character who, bloodied and inflamed by anger at being raped, confronts her countrymen, reproaches them and demands revenge. This is the crux of the work: without this convincing scene the story would make no sense.
Bachtrack (21.10.22) · Francisco Martínez Ramos
The solo singers were also very adequate, both vocally and dramatically, with Maria Miró's stellar performance as Laurencia standing out. A soprano of great dramatic vein, with power and vocal mastery, she managed to exemplarily reflect the vicissitudes of the character.
Norma · Teatro Campoamor (Oviedo)
Opera World (13.10.22) · Pablo Alvárez Siana
If the opera is armed with a balanced cast, this was helped by the brief but tight interventions of both Flavio (Facundo Muñoz) and Clotilde (Serena Pérez), with the Asturian being a piece to complete the voices of this tragedy with so much sacrifice.
Ópera Actual (10.10.22) · Cosme Marina
Both Facundo Muñoz and Serena Pérez performed well as Flavio and Clotilde, respectively.
If the opera is armed with a balanced cast, this was helped by the brief but tight interventions of both Flavio (Facundo Muñoz) and Clotilde (Serena Pérez), with the Asturian being a piece to complete the voices of this tragedy with so much sacrifice.
Ópera Actual (10.10.22) · Cosme Marina
Both Facundo Muñoz and Serena Pérez performed well as Flavio and Clotilde, respectively.
Pan y toros · Teatro de la Zarzuela (Madrid)
Codalario (10.10.22) · Raúl Chamorro
Francisco de Goya, the immortal genius of painting, an enlightened intellectual, liberal and always concerned about the destiny of Spain, benefited from the baritonal timbre of Gerardo Bullón, who was beautiful, noble and with a fine stage presence.
Scherzo (09.10.22) · Manuel García Franco
The performance of the three baritones Borja Quiza (Capitán Peñaranda), Gerardo Bullón (Goya) and Carlos Daza (Pepe-Hillo) was superb. They displayed their solid singing and acting ability.
Platea Magazine (09.10.22) · Gonzalo Lahoz
Borja Quiza's Peñaranda is again another success (...), as well as is Gerardo Bullón's Goya, one of the noblest voices heard in recent generations of Spanish baritones.
Ópera Actual (08.10.22) · Mario Muñoz
Borja Quiza as Captain Peñaranda and Gerardo Bullón's heroic Goya are also at a high level.
Shangay (07.10.22) · Nacho Fresno
Gerardo Bullón brings Goya to life splendidly.
Francisco de Goya, the immortal genius of painting, an enlightened intellectual, liberal and always concerned about the destiny of Spain, benefited from the baritonal timbre of Gerardo Bullón, who was beautiful, noble and with a fine stage presence.
Scherzo (09.10.22) · Manuel García Franco
The performance of the three baritones Borja Quiza (Capitán Peñaranda), Gerardo Bullón (Goya) and Carlos Daza (Pepe-Hillo) was superb. They displayed their solid singing and acting ability.
Platea Magazine (09.10.22) · Gonzalo Lahoz
Borja Quiza's Peñaranda is again another success (...), as well as is Gerardo Bullón's Goya, one of the noblest voices heard in recent generations of Spanish baritones.
Ópera Actual (08.10.22) · Mario Muñoz
Borja Quiza as Captain Peñaranda and Gerardo Bullón's heroic Goya are also at a high level.
Shangay (07.10.22) · Nacho Fresno
Gerardo Bullón brings Goya to life splendidly.