Virtue & Virtuosity · Espacio Turina (Seville)
El Correo de Andalucía (16.01.22) · Juan José Roldán
(...) Dani Espasa, as conductor and harpsichordist of the group, continued with great attention and poise, achieving brilliant and crystalline interventions both for the strings and for the woodwinds of a Vespres d'Arnadí that had not been heard in the city since that distant Femás de 2012 together with Ruth Rosique. The overture of Siroe or the dances of Alcina sounded in his hands with all the splendor that is always expected from the incombustible music of Georg Friedrich Haendel.
El Diario de Sevilla (15.01.22) · Andrés Moreno Mengíbar
The evening was rounded off by Espasa's energetic and meticulous conduction, full of expressive sense and authentic baroque rhetoric.
(...) Dani Espasa, as conductor and harpsichordist of the group, continued with great attention and poise, achieving brilliant and crystalline interventions both for the strings and for the woodwinds of a Vespres d'Arnadí that had not been heard in the city since that distant Femás de 2012 together with Ruth Rosique. The overture of Siroe or the dances of Alcina sounded in his hands with all the splendor that is always expected from the incombustible music of Georg Friedrich Haendel.
El Diario de Sevilla (15.01.22) · Andrés Moreno Mengíbar
The evening was rounded off by Espasa's energetic and meticulous conduction, full of expressive sense and authentic baroque rhetoric.
Stabat Mater by Dvorák · Teatro Victoria Eugenia (Saint Sebastian)
El Diario Vasco (23.11.21) · Carlos R. Vidondo
(...) It did not seem an inconvenience for the mezzo-soprano Cristina del Barrio, to whom she was entrusted, with one ear in front and the other behind, always waiting to listen to the company offered by the clarinets or the answers from the brass section. A warmth in her vocal strength that ran through the lower registers and the limits of pianissimo in the 'Inflammatus et accensus' but without losing sight of the rest of the musicians.
(...) It did not seem an inconvenience for the mezzo-soprano Cristina del Barrio, to whom she was entrusted, with one ear in front and the other behind, always waiting to listen to the company offered by the clarinets or the answers from the brass section. A warmth in her vocal strength that ran through the lower registers and the limits of pianissimo in the 'Inflammatus et accensus' but without losing sight of the rest of the musicians.
La tabernera del puerto · Teatro de la Zarzuela (Madrid)
Codalario (23.11.21) · Raúl Chamorro Mena
After seeing her on stage four times, one has the feeling that Ruth González is Abel and that it is very difficult to imagine such a credible and truthful incarnation of the dreamer adolescent, intensely and innocently in love with Marola.
Platea Magazine (19.11.21) · Gonzalo Lahoz
Faced with so much darkness and suffering, a bright light, a lighthouse in this port: the Abel by Ruth González. A kind of Cherubino in search of understanding what love is, as the hope of a new generation that understands and feels things differently. Who sees violence, mistreatment ... and rebels against it. How lucky that such a character has been so wisely carried by the singer! Not only in the short sung parts of her, where she was especially successful, but also in the dramatic construction of her role, absolutely flawless. She made me stay afloat, to breathe before a scenario that had me heartbroken and pissed off at the same time. In front of the Juan de Eguía (Pinkerton, Dukes of Mantua ...), I think I have never thanked a character more.
After seeing her on stage four times, one has the feeling that Ruth González is Abel and that it is very difficult to imagine such a credible and truthful incarnation of the dreamer adolescent, intensely and innocently in love with Marola.
Platea Magazine (19.11.21) · Gonzalo Lahoz
Faced with so much darkness and suffering, a bright light, a lighthouse in this port: the Abel by Ruth González. A kind of Cherubino in search of understanding what love is, as the hope of a new generation that understands and feels things differently. Who sees violence, mistreatment ... and rebels against it. How lucky that such a character has been so wisely carried by the singer! Not only in the short sung parts of her, where she was especially successful, but also in the dramatic construction of her role, absolutely flawless. She made me stay afloat, to breathe before a scenario that had me heartbroken and pissed off at the same time. In front of the Juan de Eguía (Pinkerton, Dukes of Mantua ...), I think I have never thanked a character more.
La voix humaine - Il segreto di Susanna · Gran Teatro de Córdoba
Codalario (19.11.21) · José Antonio Cantón
The baritone Gerardo Bullón showed a powerful voice as well as nuanced in all his registers, being developed with manifest agility, which facilitated the expression of the changing moods of the celotype suffered by Gil, his character.
(...) The music enters fully into the psychology of its only protagonist, Elle, who was masterfully performed by the German singer and actress Nicola Beller Carbone, an example of expressionist eclecticism. She joined the character with such a degree of identification in her words that the viewer could imagine the reproaches of her lover on the other end of the phone in this last conversation prior to the inevitable love break that is to be shown in this opera.
Córdopolis (14.11.21) · Irene Lázaro
Nicola Beller Carbone's performance is, in my opinion, outstanding. Her interpretive force overwhelms us not only musically, which seems to be her natural means of expression, but as an actress who goes through all the emotions that this text proposes. Nicola Beller gives us an interpretation of the character full of strength and weakness, shows us the fragility of a woman who clings to her desire. (...) The actress, the soprano, the creator shows us that present and that reality that happens on stage, and together with music, expression and voice, the magic of scenic art emerges.
Diario de Córdoba (14.11.21) · Andrea Simone
The image of a living love emerges from the magnetic and exquisite performances of Susanna (played by Karen Gardeazabal) and Gil (Gerardo Bullón), whose voices and bodies are graciously reached in a scenic continuity through the visibility of their emotions.
All that remains is the influence of the overhead light on the suffering of waiting, anguish and fear of the future of the Susanna of Nicola Beller Carbone (la voix), sublime and elegant interpretation. The vital overflow of it is contained; he is surrounded by silences, concrete and with a sensitivity in keeping with the narrative virtuosity of Francis Poulenc's style.
The baritone Gerardo Bullón showed a powerful voice as well as nuanced in all his registers, being developed with manifest agility, which facilitated the expression of the changing moods of the celotype suffered by Gil, his character.
(...) The music enters fully into the psychology of its only protagonist, Elle, who was masterfully performed by the German singer and actress Nicola Beller Carbone, an example of expressionist eclecticism. She joined the character with such a degree of identification in her words that the viewer could imagine the reproaches of her lover on the other end of the phone in this last conversation prior to the inevitable love break that is to be shown in this opera.
Córdopolis (14.11.21) · Irene Lázaro
Nicola Beller Carbone's performance is, in my opinion, outstanding. Her interpretive force overwhelms us not only musically, which seems to be her natural means of expression, but as an actress who goes through all the emotions that this text proposes. Nicola Beller gives us an interpretation of the character full of strength and weakness, shows us the fragility of a woman who clings to her desire. (...) The actress, the soprano, the creator shows us that present and that reality that happens on stage, and together with music, expression and voice, the magic of scenic art emerges.
Diario de Córdoba (14.11.21) · Andrea Simone
The image of a living love emerges from the magnetic and exquisite performances of Susanna (played by Karen Gardeazabal) and Gil (Gerardo Bullón), whose voices and bodies are graciously reached in a scenic continuity through the visibility of their emotions.
All that remains is the influence of the overhead light on the suffering of waiting, anguish and fear of the future of the Susanna of Nicola Beller Carbone (la voix), sublime and elegant interpretation. The vital overflow of it is contained; he is surrounded by silences, concrete and with a sensitivity in keeping with the narrative virtuosity of Francis Poulenc's style.
Los gavilanes · Teatro de la Zarzuela (Madrid)
Ópera Actual (18.10.21) · Mario Muñoz
The Gustavo of the Santander tenor Alejandro del Cerro was restrained, due to how easy it is for this character to fall towards the light ornament and the acute light; the security throughout the upper fringes of the register and the elegant sing line helped to bring the biggest ovations of the night.
Scherzo (17.10.21) · Manuel García Franco
Alejandro del Cerro, light tenor, is Rosaura's ‘young man in love’, Gustavo. He was responsible for singing the beautiful page of the second act, the fiery love romance with a sad melody in the manner of a madrigal, Flor roja (no 10). The Santander tenor exhibited sensitivity and good taste, and more than bragging, he tried to show off his middle voice and the way of expressing himself.
Beckmesser (17.10.21) · Arturo Reverter
Alejandro del Cerro, more forceful and confident, with less tonal charm, sometimes adorned with an excessive 'vibrato', wore his punch on the high, always confident in him.
Platea Magazine (16.10.21) · Gonzalo Lahoz
The 'loving' quartet was completed by Gustavo of Alejandro del Cerro, with an always beautiful timbre, fiery forms, a point taken when the part requires it (his interruption of the dance was one of the moments of the night) and a sharp ease. Magnificent in his solo page, Flor roja, chiseled with taste and in his own ways, and very successful, too, in the acting.
The Gustavo of the Santander tenor Alejandro del Cerro was restrained, due to how easy it is for this character to fall towards the light ornament and the acute light; the security throughout the upper fringes of the register and the elegant sing line helped to bring the biggest ovations of the night.
Scherzo (17.10.21) · Manuel García Franco
Alejandro del Cerro, light tenor, is Rosaura's ‘young man in love’, Gustavo. He was responsible for singing the beautiful page of the second act, the fiery love romance with a sad melody in the manner of a madrigal, Flor roja (no 10). The Santander tenor exhibited sensitivity and good taste, and more than bragging, he tried to show off his middle voice and the way of expressing himself.
Beckmesser (17.10.21) · Arturo Reverter
Alejandro del Cerro, more forceful and confident, with less tonal charm, sometimes adorned with an excessive 'vibrato', wore his punch on the high, always confident in him.
Platea Magazine (16.10.21) · Gonzalo Lahoz
The 'loving' quartet was completed by Gustavo of Alejandro del Cerro, with an always beautiful timbre, fiery forms, a point taken when the part requires it (his interruption of the dance was one of the moments of the night) and a sharp ease. Magnificent in his solo page, Flor roja, chiseled with taste and in his own ways, and very successful, too, in the acting.
Die Zauberflöte · Teatro Campoamor (Oviedo)
Scherzo (13.10.21) · Nuria Blanco Álvarez
Jaquelina Livieri very well in her role as Pamina.
Ópera Actual (12.10.21) · Cosme Marina
In the cast we must highlight (...) the more than solvent Pamina by Jaquelina Livieri, sweet, naive and very well focused on the vocal requirements of the role.
Platea Magazine (12.10.21) · Javier Labrada
From the cast point of view, however, the truth is that the title was defended with great success, with interesting names and a notable future projection, which is always enriching to see in theaters like Oviedo. That was the case, without going any further, of the Pamina by Jaquelina Livieri, owner of a truly striking instrument for its amplitude and color and which, along with the irreproachable Papageno by Manel Esteve, was among the best of the night.
La Nueva España (10.10.21) · Cosme Marina
Likewise, Jaquelina Livieri's Pamina is very successful (...). Vocally she brings well the richness of the role, its sweetness in expression, the naive joy and the dreaminess that define it. Her singing line is careful, although the high register is sometimes somewhat opaque.
The dames -Maria Miró, Serena Pérez and Marina Pardo- are very efficient in a magnificent joint service.
El Comercio (09.10.21) · Ramón Avelló
The Argentine soprano Jaquelina Livieri recreated a lyrical and sweet Pamina. She was the most applauded voice of the night. She sings naturally, has a very orange, polished timbre and a varied expressiveness, through which she transmits sweetness, desolation -in her aria from the second act- and joy.
La Nueva España (09.10.21) · Andrea G. Torres
Livieri, who sings with great sensitivity, was resounding, with a uniform voice throughout the register, delicate but resolute, and with a very careful vocal line.
Maria Miró, Serena Pérez and Marina Pardo in the roles of the three dames did a good job together.
Jaquelina Livieri very well in her role as Pamina.
Ópera Actual (12.10.21) · Cosme Marina
In the cast we must highlight (...) the more than solvent Pamina by Jaquelina Livieri, sweet, naive and very well focused on the vocal requirements of the role.
Platea Magazine (12.10.21) · Javier Labrada
From the cast point of view, however, the truth is that the title was defended with great success, with interesting names and a notable future projection, which is always enriching to see in theaters like Oviedo. That was the case, without going any further, of the Pamina by Jaquelina Livieri, owner of a truly striking instrument for its amplitude and color and which, along with the irreproachable Papageno by Manel Esteve, was among the best of the night.
La Nueva España (10.10.21) · Cosme Marina
Likewise, Jaquelina Livieri's Pamina is very successful (...). Vocally she brings well the richness of the role, its sweetness in expression, the naive joy and the dreaminess that define it. Her singing line is careful, although the high register is sometimes somewhat opaque.
The dames -Maria Miró, Serena Pérez and Marina Pardo- are very efficient in a magnificent joint service.
El Comercio (09.10.21) · Ramón Avelló
The Argentine soprano Jaquelina Livieri recreated a lyrical and sweet Pamina. She was the most applauded voice of the night. She sings naturally, has a very orange, polished timbre and a varied expressiveness, through which she transmits sweetness, desolation -in her aria from the second act- and joy.
La Nueva España (09.10.21) · Andrea G. Torres
Livieri, who sings with great sensitivity, was resounding, with a uniform voice throughout the register, delicate but resolute, and with a very careful vocal line.
Maria Miró, Serena Pérez and Marina Pardo in the roles of the three dames did a good job together.
Madama Butterfly · Teatro de la Maestranza (Seville)
Ópera Actual (13.10.21) · Juan José Roldán
Gerardo Bullón triumphed, with a confident and imposing voice, with a homogeneous line and well-placed bass, who perfectly captured the humanity of his character, being able to transmit it both on a musical and strictly dramatic level.
Opera World (11.10.21) · Federico Figueroa
In my opinion, it would have been appreciated if this cast had assumed more functions since the Sharpless offered by Gerardo Bullón, a baritone with quality vocal material, was on a par with his companions. His voice was always present, with some sound that he should 'cover' a little more, and from the first moment he appeared on stage, he knew how to create his character.
Diario de Sevilla (08.10.21) · Pablo J. Bayón
The Sharpless by Gerardo Bullón is magnificent. The Madrid baritone is not as lyrical as Damián del Castillo and perhaps his phrasing is not so fine, but his voice is beautiful, his emission of enormous clarity and his volume, enough for theater, orchestra and bombs.
Beckmesser (07.10.21) · Andrés Moreno Mengíbar
For Gerardo Bullón there were no problems with the pit because his voice has sufficient volume and projection, which, together with the beautiful enamel of his sound and his command of phrasing (his almost conversational singing when reading the letter was exceptional), made him an ideal Sharples.
Gerardo Bullón triumphed, with a confident and imposing voice, with a homogeneous line and well-placed bass, who perfectly captured the humanity of his character, being able to transmit it both on a musical and strictly dramatic level.
Opera World (11.10.21) · Federico Figueroa
In my opinion, it would have been appreciated if this cast had assumed more functions since the Sharpless offered by Gerardo Bullón, a baritone with quality vocal material, was on a par with his companions. His voice was always present, with some sound that he should 'cover' a little more, and from the first moment he appeared on stage, he knew how to create his character.
Diario de Sevilla (08.10.21) · Pablo J. Bayón
The Sharpless by Gerardo Bullón is magnificent. The Madrid baritone is not as lyrical as Damián del Castillo and perhaps his phrasing is not so fine, but his voice is beautiful, his emission of enormous clarity and his volume, enough for theater, orchestra and bombs.
Beckmesser (07.10.21) · Andrés Moreno Mengíbar
For Gerardo Bullón there were no problems with the pit because his voice has sufficient volume and projection, which, together with the beautiful enamel of his sound and his command of phrasing (his almost conversational singing when reading the letter was exceptional), made him an ideal Sharples.
Nabucco · Teatro Campoamor (Oviedo)
Ópera Actual (21.09.21) · Diana Díaz
In this second cast, a powerful Maite Alberola prevailed in the role of Abigail. The soprano played the former slave and supposed daughter of King Nabucco, with an edgeless interpretation, maintaining the strength of the character in the different passages of her vocal role. With this, it is necessary to highlight the evolution of Abigail from the second act, to show Alberola all his range of vocal and expressive means, in one of the most complicated characters for his string, and a prelude to Verdian characters of great dramatic charge.
In this performance, Zaccaria was Javier Castañeda. The priest of the Hebrews must transmit strength and solemnity, in a demanding score due to its length and its richness of sound intensities. The bass-baritone solved his part with interesting contrasts and an adequate vocal flexibility, to be highlighted in the prayer of the second act.
In this second cast, a powerful Maite Alberola prevailed in the role of Abigail. The soprano played the former slave and supposed daughter of King Nabucco, with an edgeless interpretation, maintaining the strength of the character in the different passages of her vocal role. With this, it is necessary to highlight the evolution of Abigail from the second act, to show Alberola all his range of vocal and expressive means, in one of the most complicated characters for his string, and a prelude to Verdian characters of great dramatic charge.
In this performance, Zaccaria was Javier Castañeda. The priest of the Hebrews must transmit strength and solemnity, in a demanding score due to its length and its richness of sound intensities. The bass-baritone solved his part with interesting contrasts and an adequate vocal flexibility, to be highlighted in the prayer of the second act.