La Traviata · Baluarte (Pamplona) and Kursaal (Donostia)
El Diario Vasco (05.02.25) · María José Cano
Mar Morán faced a last-minute Violetta that seemed to be made for her. Vocally, she stood out for her clear ease with coloratura and high notes, which allowed her to navigate the most virtuosic moments comfortably, infusing them with a captivating warmth. Morán was not only a great singer but, above all, a great musician. This was evident in her control of phrasing and in the rich dynamics she brought to the performance, starting with her first major aria, ‘E strano...Ah! forse è lui... Sempre libera’, with which she won over the audience and kept them captivated throughout the entire performance. She also moved the audience in well-known arias like the ‘Addio del passato’.
Diario de Navarra (05.02.25) · Xabier Armendáriz
Mar Morán faced a huge challenge on Sunday. It wasn’t just about replacing Nina Minasyan, who was ill, with less than a day’s notice. Nor was it about learning the stage direction movements by Henning Brockhaus in just an hour and a half. The real challenge for the young soprano from Extremadura was that this review, like the audience's comments upon leaving, would begin by talking about her, and not about the set design. Morán, who had already performed as Violetta at the Campoamor Theatre in Oviedo, showed that not only music, but also interpretation, convey the emotions of the characters in opera. The singer mastered the entire performance with both strength and delicacy.
Mar Morán faced a last-minute Violetta that seemed to be made for her. Vocally, she stood out for her clear ease with coloratura and high notes, which allowed her to navigate the most virtuosic moments comfortably, infusing them with a captivating warmth. Morán was not only a great singer but, above all, a great musician. This was evident in her control of phrasing and in the rich dynamics she brought to the performance, starting with her first major aria, ‘E strano...Ah! forse è lui... Sempre libera’, with which she won over the audience and kept them captivated throughout the entire performance. She also moved the audience in well-known arias like the ‘Addio del passato’.
Diario de Navarra (05.02.25) · Xabier Armendáriz
Mar Morán faced a huge challenge on Sunday. It wasn’t just about replacing Nina Minasyan, who was ill, with less than a day’s notice. Nor was it about learning the stage direction movements by Henning Brockhaus in just an hour and a half. The real challenge for the young soprano from Extremadura was that this review, like the audience's comments upon leaving, would begin by talking about her, and not about the set design. Morán, who had already performed as Violetta at the Campoamor Theatre in Oviedo, showed that not only music, but also interpretation, convey the emotions of the characters in opera. The singer mastered the entire performance with both strength and delicacy.
Le nozze di Figaro · Teatro Campoamor (Oviedo)
Ópera Actual (03.02.25) · Antonio Hedrera // Second cast
The Cherubino of Gijón-born Serena Pérez deserves special mention for her lively stage presence and her distinctive, very Mozartian timbre, shining particularly in the challenging “Non so più cosa son.”
Alexandra Urquiola was a brilliant Marcellina, standing out in her aria “Il capro e la capretta” (...).
Ruth González, as Barbarina, brought freshness and innocence with a beautifully sung “L’ho perduta.”
Scherzo (02.02.25) · Miriam Perandones
The other star of the evening was Mercedes Gancedo, a soprano who, with her delicate and emotional phrasing, delivered a beautiful “Deh, vieni” at the end of the performance. She possesses a lovely voice with a charming vibrato, well-balanced in the mid and low registers, although she needs to take care with her high notes, as they tend to open up in the pianissimos.
Marcellina (Alexandra Urquiola) showcased her comedic flair in Il capro e la capretta (...).
Barbarina (Ruth González) gave a lovely performance and sang her famous “L’ho perduta” beautifully.
Ópera Actual (27.01.25) · Jonathan Mallada
Her companion in mischief, Mercedes Gancedo, was confident as Susanna thanks to her central register, delivering a commendable “Deh vieni, non tardar.” Anna Pennisi and Ruth González – as Cherubino and Barbarina, respectively – compensated for their light voices with intelligence, opting for convincing vocal lines that allowed them to extend their phrasing with great intention.
Alexandra Urquiola, making her debut at the Opera of Oviedo as Marcellina, displayed a homogeneous voice full of solidity, conveying a remarkable sense of maturity and confidence that she sought to share with her fellow cast members.
Platea Magazine (26.01.25) · Enrique Bert
His fiancée was a lively Mercedes Gancedo, endowed with the same credibility and a timbre that contrasted effortlessly with that of her mistress.
Impeccable was New York’s Alexandra Urquiola, a Marcellina who restored the Act IV aria Il capro e la capretta, giving the character a monumental dimension. She received resounding applause at the end of the evening.
Ruth González delivered a remarkable Barbarina, notable for her resonant and pleasant voice, although she was made to sing half of her only aria behind the curtain.
Opera World (26.01.25) · Pablo Álvarez Siana
The Argentine Mercedes Gancedo was the ideal counterpart, portraying a Susanna with continuous presence, firmly grounded on stage from her two initial duets with Figaro to the beginning of the third act with the Count (“Crudel! perché finora”), and further duets with the light voices of Marcellina, Cherubino, and the Countess (in the “Canzonetta sull’aria,” where the vocal colours were not always distinct, but both sang with great taste). She navigated the pairings skilfully, not to mention the charm she displayed in her aria “Venite inginocchiatevi” in the second act.
The Marcellina of New York-born, Cuban-origin mezzo-soprano Alexandra Urquiola (making her Oviedo debut) added as much colour in the duet with Susanna as in the always “complex ensembles” at the end of the second and fourth acts, displaying great musicality in her final aria “Il capro e la capretta” in front of the curtain. This followed the aria of someone who never disappoints, no matter how small the role: the Tenerife-born soprano Ruth González, whose Barbarina left a lasting impression with her cavatina “L’ho perduta.”
The Cherubino of Gijón-born Serena Pérez deserves special mention for her lively stage presence and her distinctive, very Mozartian timbre, shining particularly in the challenging “Non so più cosa son.”
Alexandra Urquiola was a brilliant Marcellina, standing out in her aria “Il capro e la capretta” (...).
Ruth González, as Barbarina, brought freshness and innocence with a beautifully sung “L’ho perduta.”
Scherzo (02.02.25) · Miriam Perandones
The other star of the evening was Mercedes Gancedo, a soprano who, with her delicate and emotional phrasing, delivered a beautiful “Deh, vieni” at the end of the performance. She possesses a lovely voice with a charming vibrato, well-balanced in the mid and low registers, although she needs to take care with her high notes, as they tend to open up in the pianissimos.
Marcellina (Alexandra Urquiola) showcased her comedic flair in Il capro e la capretta (...).
Barbarina (Ruth González) gave a lovely performance and sang her famous “L’ho perduta” beautifully.
Ópera Actual (27.01.25) · Jonathan Mallada
Her companion in mischief, Mercedes Gancedo, was confident as Susanna thanks to her central register, delivering a commendable “Deh vieni, non tardar.” Anna Pennisi and Ruth González – as Cherubino and Barbarina, respectively – compensated for their light voices with intelligence, opting for convincing vocal lines that allowed them to extend their phrasing with great intention.
Alexandra Urquiola, making her debut at the Opera of Oviedo as Marcellina, displayed a homogeneous voice full of solidity, conveying a remarkable sense of maturity and confidence that she sought to share with her fellow cast members.
Platea Magazine (26.01.25) · Enrique Bert
His fiancée was a lively Mercedes Gancedo, endowed with the same credibility and a timbre that contrasted effortlessly with that of her mistress.
Impeccable was New York’s Alexandra Urquiola, a Marcellina who restored the Act IV aria Il capro e la capretta, giving the character a monumental dimension. She received resounding applause at the end of the evening.
Ruth González delivered a remarkable Barbarina, notable for her resonant and pleasant voice, although she was made to sing half of her only aria behind the curtain.
Opera World (26.01.25) · Pablo Álvarez Siana
The Argentine Mercedes Gancedo was the ideal counterpart, portraying a Susanna with continuous presence, firmly grounded on stage from her two initial duets with Figaro to the beginning of the third act with the Count (“Crudel! perché finora”), and further duets with the light voices of Marcellina, Cherubino, and the Countess (in the “Canzonetta sull’aria,” where the vocal colours were not always distinct, but both sang with great taste). She navigated the pairings skilfully, not to mention the charm she displayed in her aria “Venite inginocchiatevi” in the second act.
The Marcellina of New York-born, Cuban-origin mezzo-soprano Alexandra Urquiola (making her Oviedo debut) added as much colour in the duet with Susanna as in the always “complex ensembles” at the end of the second and fourth acts, displaying great musicality in her final aria “Il capro e la capretta” in front of the curtain. This followed the aria of someone who never disappoints, no matter how small the role: the Tenerife-born soprano Ruth González, whose Barbarina left a lasting impression with her cavatina “L’ho perduta.”
La Traviata · Gran Teatre del Liceu (Barcelona)
Ópera Actual (20.01.25) · Aniol Costa-Pau
Among the latter (supporting roles), the most praised were (...) Josep-Ramon Olivé as Baron Douphol (...).
Scherzo (19.01.25) · Javier Pérez Senz
A very notable ensemble of supporting roles: (...) Josep-Ramon Olivé (a Baron Douphol of very youthful appearance) (...).
Platea Magazine (18.01.25) · Alejandro Martínez
More than capable was the cast of supporting roles, featuring commendable voices and dedicated professionals such as (...) Josep-Ramón Olivé (Douphol) (...).
La Vanguardia (18.01.25) · Jordi Maddaleno
Bravo for the bouquet of young local voices: ... Josep-Ramon Olivé (Douphol) (...).
Among the latter (supporting roles), the most praised were (...) Josep-Ramon Olivé as Baron Douphol (...).
Scherzo (19.01.25) · Javier Pérez Senz
A very notable ensemble of supporting roles: (...) Josep-Ramon Olivé (a Baron Douphol of very youthful appearance) (...).
Platea Magazine (18.01.25) · Alejandro Martínez
More than capable was the cast of supporting roles, featuring commendable voices and dedicated professionals such as (...) Josep-Ramón Olivé (Douphol) (...).
La Vanguardia (18.01.25) · Jordi Maddaleno
Bravo for the bouquet of young local voices: ... Josep-Ramon Olivé (Douphol) (...).
Maria Stuarda · Teatro Real (Madrid)
Pro Ópera (27.12.24) · Daniel Lara
The cast was completed with fitting performances by the American soprano Elisa Pfaender and the Argentine Mercedes Gancedo, who portrayed Maria's nurse, Anna Kennedy.
Platea Magazine (24.12.24) · Jordi Maddaleno
Completing the cast was the assured and flawless Mercedes Gancedo as Anna Kennedy, the maid of honour to Maria Stuarda.
Ópera World (20.12.24) · María Pardo
The Argentine soprano Mercedes Gancedo, in the role of Anna Kennedy, was impeccable in her performance.
Scherzo (17.12.24) · Arturo Reverter
Mercedes Gancedo fulfilled the secondary role of Anna to satisfaction.
The cast was completed with fitting performances by the American soprano Elisa Pfaender and the Argentine Mercedes Gancedo, who portrayed Maria's nurse, Anna Kennedy.
Platea Magazine (24.12.24) · Jordi Maddaleno
Completing the cast was the assured and flawless Mercedes Gancedo as Anna Kennedy, the maid of honour to Maria Stuarda.
Ópera World (20.12.24) · María Pardo
The Argentine soprano Mercedes Gancedo, in the role of Anna Kennedy, was impeccable in her performance.
Scherzo (17.12.24) · Arturo Reverter
Mercedes Gancedo fulfilled the secondary role of Anna to satisfaction.
Ariadne auf Naxos · Teatro de la Maestranza (Seville)
Pro Ópera (20.12.24) · Arturo Weber
A particularly warm mention is due to the quartet formed by Carlos Daza (Harlequin), Emmanuel Faraldo (Scaramuccio), Daniel Noyola (Truffaldino), and Juan Antonio Sanabria (Brighella). They delivered the moments of true comedy, which were warmly appreciated by the attending audience.
Diario de Sevilla (15.12.24) · Andrés Moreno Mengíbar
Similarly, the male ensemble of Daza, Faraldo, Noyola, and Sanabria was perfectly harmonised.
Ópera World (17.12.24) · Gonzalo Roldán
It is also worth mentioning the comedic ensemble accompanying Zerbinetta, consisting of the singers Carlos Daza, Emmanuel Faraldo, Daniel Noyola, and Juan Antonio Sanabria. Each of them contributed to creating hilarious scenes and provided a comic counterpoint to the apparent seriousness of the drama being portrayed.
A particularly warm mention is due to the quartet formed by Carlos Daza (Harlequin), Emmanuel Faraldo (Scaramuccio), Daniel Noyola (Truffaldino), and Juan Antonio Sanabria (Brighella). They delivered the moments of true comedy, which were warmly appreciated by the attending audience.
Diario de Sevilla (15.12.24) · Andrés Moreno Mengíbar
Similarly, the male ensemble of Daza, Faraldo, Noyola, and Sanabria was perfectly harmonised.
Ópera World (17.12.24) · Gonzalo Roldán
It is also worth mentioning the comedic ensemble accompanying Zerbinetta, consisting of the singers Carlos Daza, Emmanuel Faraldo, Daniel Noyola, and Juan Antonio Sanabria. Each of them contributed to creating hilarious scenes and provided a comic counterpoint to the apparent seriousness of the drama being portrayed.
Aida · Teatro Campoamor (Oviedo)
Ópera World (14.12.24) · Pablo Álvarez Siana
Josep Fadó, the ever-reliable tenor from Mataró, portrayed the messenger, a role that promises him more leading parts in the future. It was a privilege to have him in the cast of this production, helping to maintain a vocal balance on stage.
Josep Fadó, the ever-reliable tenor from Mataró, portrayed the messenger, a role that promises him more leading parts in the future. It was a privilege to have him in the cast of this production, helping to maintain a vocal balance on stage.
La Traviata · Teatro Principal (Burgos)
Ópera World (13.12.24) · Federico Figueroa
In the pit was Pedro Bartolomé, the heart and soul of this promising opera season, leading the Joven Orquesta Sinfónica de Burgos (JOSBU), which continues its impressive progression. His baton sought a well-balanced sound that supported the singers while crafting the appropriate atmospheres for the dramatic creatures of La Traviata. The performance carried theatrical tension and a genuine Verdi spirit, despite a few smudges in the prelude to the third act.
The Extremaduran soprano Mar Morán and the Cantabrian tenor Alejandro del Cerro portrayed the couple Violetta-Alfredo, characters they both debuted as at the Opera of Oviedo a year ago, demonstrating intelligence in conveying the full arc of their journey. She was particularly strong in the first act scene, with a high note in the cabaletta, and together they gifted us a moving "Parigi o cara" in the third act. He was generous in the more lyrical passages, with expressive outbursts that made a strong impact on the audience, filling the Teatro Principal to capacity.
Rounding off the lead triangle, the Mallorcan baritone Pablo López convincingly portrayed the selfish and unsympathetic Giorgio Germont, with measured stage presence and a vocal delivery full of vibrant accents.
In the pit was Pedro Bartolomé, the heart and soul of this promising opera season, leading the Joven Orquesta Sinfónica de Burgos (JOSBU), which continues its impressive progression. His baton sought a well-balanced sound that supported the singers while crafting the appropriate atmospheres for the dramatic creatures of La Traviata. The performance carried theatrical tension and a genuine Verdi spirit, despite a few smudges in the prelude to the third act.
The Extremaduran soprano Mar Morán and the Cantabrian tenor Alejandro del Cerro portrayed the couple Violetta-Alfredo, characters they both debuted as at the Opera of Oviedo a year ago, demonstrating intelligence in conveying the full arc of their journey. She was particularly strong in the first act scene, with a high note in the cabaletta, and together they gifted us a moving "Parigi o cara" in the third act. He was generous in the more lyrical passages, with expressive outbursts that made a strong impact on the audience, filling the Teatro Principal to capacity.
Rounding off the lead triangle, the Mallorcan baritone Pablo López convincingly portrayed the selfish and unsympathetic Giorgio Germont, with measured stage presence and a vocal delivery full of vibrant accents.
Madama Butterfly · Gran Teatre del Liceu (Barcelona)
Platea Magazine (16.12.24) · Jordi Maddaleno
With a pleasant timbre, assured singing, and polished technique, the Sharpless of Madrid-born baritone Gerardo Bullón stood out. His nuanced phrasing and strong stage presence underscored the performance of an artist in constant ascent.
Ópera Actual (12.12.24) · Pablo Meléndez-Haddad
The two lovers were joined by a third star: Gerardo Bullón as Sharpless. With a seductive timbre, clear diction, and a resonant voice that carried effortlessly throughout the hall, his performance was captivating. As an actor, the acclaimed Madrid-born baritone brought credibility to this multifaceted role, which he defended with remarkable skill.
With a pleasant timbre, assured singing, and polished technique, the Sharpless of Madrid-born baritone Gerardo Bullón stood out. His nuanced phrasing and strong stage presence underscored the performance of an artist in constant ascent.
Ópera Actual (12.12.24) · Pablo Meléndez-Haddad
The two lovers were joined by a third star: Gerardo Bullón as Sharpless. With a seductive timbre, clear diction, and a resonant voice that carried effortlessly throughout the hall, his performance was captivating. As an actor, the acclaimed Madrid-born baritone brought credibility to this multifaceted role, which he defended with remarkable skill.
Madama Butterfly · Auditorio de Tenerife
En Platea (26.11.24) · Celia García
Alberto Ballesta brought remarkable depth to the role of Goro, the cunning and manipulative matchmaker. He succeeded in portraying a seemingly obliging man who, in truth, harboured profoundly selfish motives. Ballesta showcased an expressive voice that heightened the character’s duplicitous nature, particularly excelling in scenes where Goro manoeuvred to exert control over the lives of others. His performance added a constant undercurrent of tension that fuelled the opera’s central conflicts.
Bachtrack (26.11.24) · Ramón Pereira Blanco
Noteworthy was Alberto Ballesta's rendition of the matchmaker Goro, marked by complete professionalism and reliability.
Alberto Ballesta brought remarkable depth to the role of Goro, the cunning and manipulative matchmaker. He succeeded in portraying a seemingly obliging man who, in truth, harboured profoundly selfish motives. Ballesta showcased an expressive voice that heightened the character’s duplicitous nature, particularly excelling in scenes where Goro manoeuvred to exert control over the lives of others. His performance added a constant undercurrent of tension that fuelled the opera’s central conflicts.
Bachtrack (26.11.24) · Ramón Pereira Blanco
Noteworthy was Alberto Ballesta's rendition of the matchmaker Goro, marked by complete professionalism and reliability.
Lazarillo · Teatro Góngora (Cordoba)
Mundo Clásico (13.12.24) · José Amador Morales
The vocal performances reached great heights, particularly highlighted by Ruth González, whose light voice and distinctive timbre proved ideal for portraying Lazarillo. She brought charismatic phrasing, clear diction, and impeccable dramatic commitment to the role. The Tenerife-born soprano delivered a fully realised characterisation of the protagonist, skillfully navigating the technical demands and raw emotions of the role.
The vocal performances reached great heights, particularly highlighted by Ruth González, whose light voice and distinctive timbre proved ideal for portraying Lazarillo. She brought charismatic phrasing, clear diction, and impeccable dramatic commitment to the role. The Tenerife-born soprano delivered a fully realised characterisation of the protagonist, skillfully navigating the technical demands and raw emotions of the role.
Madama Butterfly · Teatro Cervantes (Malaga)
Mundo Clásico (10.12.24) · José Amador Morales
The seasoned Luis Pacetti as Goro and Javier Castañeda as Uncle Bonzo were extraordinary.
Ópera Actual (25.11.24) · Alejandro Fernández
Luis Paceti and Javier Castañeda rounded out the cast, each fulfilling their roles with absolute artistic precision.
Aforo Libre (22.11.24) · Violeta Lara
To complete the ensemble of protagonists, Javier Castañeda is also up to the task (...).
The seasoned Luis Pacetti as Goro and Javier Castañeda as Uncle Bonzo were extraordinary.
Ópera Actual (25.11.24) · Alejandro Fernández
Luis Paceti and Javier Castañeda rounded out the cast, each fulfilling their roles with absolute artistic precision.
Aforo Libre (22.11.24) · Violeta Lara
To complete the ensemble of protagonists, Javier Castañeda is also up to the task (...).
Turandot · Teatro de la Maestranza (Seville)
Ópera Actual (12.11.24) · Ismael G. Cabral
Josep Fadó was also notable in his roles as Emperor Altoum and the Prince of Persia.
Opera World (11.11.24) · Gonzalo Roldán
Josep Fadó delivered a very commendable performance in his brief role as the Emperor.
Platea Magazine (08.11.24) · Javier del Olivo
The rest of the cast was solid, led by Maxim Kuzmin Karavaev as Timur, with an excellent Josep Fadó as Emperor Altoum.
Josep Fadó was also notable in his roles as Emperor Altoum and the Prince of Persia.
Opera World (11.11.24) · Gonzalo Roldán
Josep Fadó delivered a very commendable performance in his brief role as the Emperor.
Platea Magazine (08.11.24) · Javier del Olivo
The rest of the cast was solid, led by Maxim Kuzmin Karavaev as Timur, with an excellent Josep Fadó as Emperor Altoum.
Madama Butterfly · Teatro Afundación (Vigo)
Scherzo (29.10.24) · Arturo Reverter
Pinkerton was portrayed by the ever-brave and intrepid Alejandro del Cerro, making his debut in the role. He sang with confidence, delivering effortless and well-projected high notes, along with generous and assured phrasing.
Pinkerton was portrayed by the ever-brave and intrepid Alejandro del Cerro, making his debut in the role. He sang with confidence, delivering effortless and well-projected high notes, along with generous and assured phrasing.
Ariadne auf Naxos · Auditorio de Tenerife
Bachtrack (22.10.24) · Ramón Pereira Blanco
(...) This was complemented by a stage performance of great ease and elegance, further enriched by the theatrical approach of the four colleagues in the comic roles of the piece (Emmanuel Faraldo), who handled the dual roles in each of the two parts of the work with outstanding professionalism.
Scherzo (17.10.24) · Arturo Reverter
Arlequin was combined with a music teacher, Scaramuccio with an officer (Emmanuel Faraldo, tenor), Truffaldin with a footman, and Brighella with a dance master. All four performed their dual roles perfectly.
(...) This was complemented by a stage performance of great ease and elegance, further enriched by the theatrical approach of the four colleagues in the comic roles of the piece (Emmanuel Faraldo), who handled the dual roles in each of the two parts of the work with outstanding professionalism.
Scherzo (17.10.24) · Arturo Reverter
Arlequin was combined with a music teacher, Scaramuccio with an officer (Emmanuel Faraldo, tenor), Truffaldin with a footman, and Brighella with a dance master. All four performed their dual roles perfectly.