La Dolores · Teatro Campoamor (Oviedo)
Scherzo (02.05.23) · Nuria Blanco Álvarez
Gerardo Bullón is extraordinary as Patricio, both in his dramatic characterisation and in the naturalness of his voice, with fantastic diction.
Ópera Actual (30.04.23) · Pablo Gallego
Gerardo Bullón's Patricio, capable of taking his character beyond what is strictly necessary to make him seem real, is a high-flying character.
Ópera World (28.04.23) · Pablo Álvarez Siana
(...) The same goes for the rich Patricio, a Gerardo Bullón always confident on stage, forming a good tandem with Rojas, a comical scene of gifts for Dolores, closing a trio of baritones with a lot to sing to differentiate themselves dramatically, vocally and expressively.
Gerardo Bullón is extraordinary as Patricio, both in his dramatic characterisation and in the naturalness of his voice, with fantastic diction.
Ópera Actual (30.04.23) · Pablo Gallego
Gerardo Bullón's Patricio, capable of taking his character beyond what is strictly necessary to make him seem real, is a high-flying character.
Ópera World (28.04.23) · Pablo Álvarez Siana
(...) The same goes for the rich Patricio, a Gerardo Bullón always confident on stage, forming a good tandem with Rojas, a comical scene of gifts for Dolores, closing a trio of baritones with a lot to sing to differentiate themselves dramatically, vocally and expressively.
Tristan und Isolde · Teatro Real (Madrid)
Scherzo (27.04.23) · Miguel Ángel González Barrio
It is good news that the supporting roles are entrusted to deserving Spanish singers: (...) Alejandro del Cerro.
Codalario (27.04.23) · Raúl Chamorro Mena
The Spanish singers in the remaining supporting roles, Alejandro del Cerro, Jorge Rodríguez Norton and David Lagares were more than adequate.
Beckmesser (27.04.23) · Arturo Reverter
(...) As did the other members of the show. Del Cerro, with his rugged timbre, made an excellent sailor.
Platea Magazine (26.04.23) · Javier del Olivo
Great group of comprimarios, (...) and followed by the good work of Jorge Rodríguez-Norton, Alejandro del Cerro and David Lagares.
Ópera Actual (26.04.23) · José María Marco
Neal Cooper, Jorge Rodríguez-Norton, Alejandro del Cerro and David Lagares were excellent.
El País (26.04.23) · Pablo L. Rodríguez
Cantabrian tenor Alejandro del Cerro opened the opera with a nuanced seaman performance.
It is good news that the supporting roles are entrusted to deserving Spanish singers: (...) Alejandro del Cerro.
Codalario (27.04.23) · Raúl Chamorro Mena
The Spanish singers in the remaining supporting roles, Alejandro del Cerro, Jorge Rodríguez Norton and David Lagares were more than adequate.
Beckmesser (27.04.23) · Arturo Reverter
(...) As did the other members of the show. Del Cerro, with his rugged timbre, made an excellent sailor.
Platea Magazine (26.04.23) · Javier del Olivo
Great group of comprimarios, (...) and followed by the good work of Jorge Rodríguez-Norton, Alejandro del Cerro and David Lagares.
Ópera Actual (26.04.23) · José María Marco
Neal Cooper, Jorge Rodríguez-Norton, Alejandro del Cerro and David Lagares were excellent.
El País (26.04.23) · Pablo L. Rodríguez
Cantabrian tenor Alejandro del Cerro opened the opera with a nuanced seaman performance.
El sombrero de tres picos by Falla · Teatro Cervantes (Málaga)
La Opinión de Málaga (17.04.23) · Alejandro Fernández
In the soloist section, the generous voice and musical taste of the baritone Alfonso Mújica is worthy of mention, as well as the very interesting role played by the Asturian mezzo-soprano Serena Pérez in the suite from El sombrero de tres picos.
In the soloist section, the generous voice and musical taste of the baritone Alfonso Mújica is worthy of mention, as well as the very interesting role played by the Asturian mezzo-soprano Serena Pérez in the suite from El sombrero de tres picos.
The song of the Earth by Malher · Teatro de la Maestranza
El Correo de Andalucía (11.03.23) · Juan José Roldán
Tenor Alejandro del Cerro, a member of the cast that only a few days ago premiered La vida breve, showed excellent qualities of projection and character, imbuing his participation with anguish and eloquence from the sombre song of the drinkers to the disdain provoked by the arrival of spring, intoned with a certain ironic tone that del Cerro handled with a voice that was at all times controlled but overwhelming.
Diario de Sevilla (10.04.23) · Andrés Moreno Mengíbar
Alejandro del Cerro approached his interventions bravely and with ample resources, with power and metal in the treble and careful phrasing, also knowing how to deploy a delicate, well-regulated singing line in the most lyrical moments.
Tenor Alejandro del Cerro, a member of the cast that only a few days ago premiered La vida breve, showed excellent qualities of projection and character, imbuing his participation with anguish and eloquence from the sombre song of the drinkers to the disdain provoked by the arrival of spring, intoned with a certain ironic tone that del Cerro handled with a voice that was at all times controlled but overwhelming.
Diario de Sevilla (10.04.23) · Andrés Moreno Mengíbar
Alejandro del Cerro approached his interventions bravely and with ample resources, with power and metal in the treble and careful phrasing, also knowing how to deploy a delicate, well-regulated singing line in the most lyrical moments.
La vida breve · Teatro de la Maestranza (Seville)
Codalario (22.03.23) · José Amador Morales
Gerardo Bullón in his short role and the backstage voice of Alejandro del Cerro, also stood out.
Ópera Actual (21.03.23) · Ismael G. Cabral
Gerardo Bullón's Manuel was also appreciated.
Platea Magazine (20.03.23) · Javier del Olivo
The rest of the comprimarios gave a superb performance, with outstanding (...) the beautiful timbre of Gerardo Bullón as Manuel, and the good work of Alejandro del Cerro as the voice of the forge.
El Correo de Andalucía (20.03.23) · Juan José Roldán
Alejandro del Cerro was very convincing, albeit from behind the scenes, leading as a voice in the forge a chorus which, together with the orchestra conducted by a flamboyant Lucas Macías, ended up seeming to us like the kings of the show.
Diario de Sevilla (18.03.23) · Andrés Moreno Mengíbar
Brilliant Del Cerro as a voice in the forge.
Gerardo Bullón in his short role and the backstage voice of Alejandro del Cerro, also stood out.
Ópera Actual (21.03.23) · Ismael G. Cabral
Gerardo Bullón's Manuel was also appreciated.
Platea Magazine (20.03.23) · Javier del Olivo
The rest of the comprimarios gave a superb performance, with outstanding (...) the beautiful timbre of Gerardo Bullón as Manuel, and the good work of Alejandro del Cerro as the voice of the forge.
El Correo de Andalucía (20.03.23) · Juan José Roldán
Alejandro del Cerro was very convincing, albeit from behind the scenes, leading as a voice in the forge a chorus which, together with the orchestra conducted by a flamboyant Lucas Macías, ended up seeming to us like the kings of the show.
Diario de Sevilla (18.03.23) · Andrés Moreno Mengíbar
Brilliant Del Cerro as a voice in the forge.
The telephone · Musika Música (Bilbao)
Scherzo (07.03.23) · Asier Vallejo Ugarte
And Ruth González and Jan Antem also made the story they were telling us plausible, this short comedy whose background was really dark and perverse: just as the telephone crosses between them like a third lover, hashtags flood modern life to the point of overflowing it.
Klassikbidea.eus (04.03.23) · Nora Franco Madariaga
Ruth González was comfortable in her role, despite the closeness of the audience and the discomfort of constantly holding a mobile phone to her ear. She sang with ease, with a light, ringing voice that held up well at both ends of the register - although the higher register did not always sound with the same warmth. She excelled especially in the more intimate and delicate passages, singing sweetly and lightly.
And Ruth González and Jan Antem also made the story they were telling us plausible, this short comedy whose background was really dark and perverse: just as the telephone crosses between them like a third lover, hashtags flood modern life to the point of overflowing it.
Klassikbidea.eus (04.03.23) · Nora Franco Madariaga
Ruth González was comfortable in her role, despite the closeness of the audience and the discomfort of constantly holding a mobile phone to her ear. She sang with ease, with a light, ringing voice that held up well at both ends of the register - although the higher register did not always sound with the same warmth. She excelled especially in the more intimate and delicate passages, singing sweetly and lightly.
Don Pablo... ¿con Brocha? · Teatro de la Zarzuela (Madrid)
Codalario (01.03.23) · Raúl Chamorro
The sixty-minute performance allowed us to listen to rare pieces from our lyric genre, and benefited from the leading role of the baritone Gerardo Bullón in the role of Eugenio Arias, who showed himself to be dominant, uninhibited, full of registers, as an actor, as well as being vocally overwhelming. From Ricardo's account of El cantante enmascarado by Fernando Díaz Giles, Bullón's beautiful timbre of genuine baritonal nobility filled the small hall and spread throughout the foyer and foyer of the theatre, from where the echoes and resonances of the rich harmonics of his voice came through.
The sixty-minute performance allowed us to listen to rare pieces from our lyric genre, and benefited from the leading role of the baritone Gerardo Bullón in the role of Eugenio Arias, who showed himself to be dominant, uninhibited, full of registers, as an actor, as well as being vocally overwhelming. From Ricardo's account of El cantante enmascarado by Fernando Díaz Giles, Bullón's beautiful timbre of genuine baritonal nobility filled the small hall and spread throughout the foyer and foyer of the theatre, from where the echoes and resonances of the rich harmonics of his voice came through.
Il barbiere di Siviglia · Teatro Cervantes (Málaga)
Codalario (02.03.23) · José Antonio Cantón
Another moment, always awaited, was the "aria de la calumnia" of the music master Don Basilio, a role played by the Palencia bass Javier Castañeda, demonstrating with naturalness and skill his artistic and professional experience.
Ópera Actual (27.02.23) · Alejandro Fernández
No less outstanding was the Basilio played by bass Javier Castañeda, balanced also on the interpretative and vocal levels.
Another moment, always awaited, was the "aria de la calumnia" of the music master Don Basilio, a role played by the Palencia bass Javier Castañeda, demonstrating with naturalness and skill his artistic and professional experience.
Ópera Actual (27.02.23) · Alejandro Fernández
No less outstanding was the Basilio played by bass Javier Castañeda, balanced also on the interpretative and vocal levels.
Così fan tutte · Palacio Euskalduna (Bilbao)
Ópera World (02.02.23) · Angélica Burgos
With a fairly full Palacio Euskalduna, Bartolomé's baton was attentive at all times to the singers, masterfully tempering the Euskadiko Orkestra in certain passages such as in the tercet "Soave sia il vento", authentic poetry for the ears. authentic poetry for the ears. With a scholastic conducting not exempt of strength and passion, the Musical Director of the Joven Orquesta Sinfónica de Burgos, pulled the strings throughout the evening, achieving that characteristic Mozartian sound in many passages in which the winds shone at a high level. The connection between the pit and the soloists was palpable at all times, as was his great solidarity with the tenor, whom he wrapped up in all his interventions before the immensity of the Bilbao auditorium. The apotheosic finale, full of passion and intensity, with a dedicated conductor and musicians of the Sinfónica de Euskadi involved as we have rarely seen, was a highlight.
Scherzo (30.01.23) · Asier Vallejo Ugarte
It was on the musical level that this Così by Opera Berri gained in freshness compared to the opening performance. Pedro Bartolomé (1987), musical director of the Joven Orquesta Sinfónica de Burgos, was making his debut in the pit of the Euskalduna after having worked as assistant to maestros such as Frizza, Oren, Luisotti or Rousset in important venues in Madrid, Bilbao, Seville or Las Palmas de Gran Canaria, and won the greatest applause of the evening as a just reward for his way of combining the warm Mozartian melody with the fluidity of Dapontian theatre. He found the Euskadiko Orkestra with more experience than in the opening performance, more exciting in sound, and this was the final impetus for the rhythm of the evening.
Pro Ópera (30.01.23) · José Nogueira
The ABAO production, on this occasion (Ópera Berri) featured the young baton of Pedro Bartolomé conducting the Euskadiko Orkestra, who offered a very dynamic and intense conduction, in which we could appreciate a great complicity with the members of the Sinfónica de Euskadi. Tremendously passionate and very dedicated in his debut in Bilbao, the maestro from Burgos stood out in the work of accompanying the singers, giving the audience authentic Mozartian passages. Brilliant in the overture and supportive in various passages with the tenor, he impressed in the second act, embroidering the succession of numbers written by the genius of Salzburg. After offering a vibrant finale that managed to move the audience, he received a standing ovation when he came out to salute.
With a fairly full Palacio Euskalduna, Bartolomé's baton was attentive at all times to the singers, masterfully tempering the Euskadiko Orkestra in certain passages such as in the tercet "Soave sia il vento", authentic poetry for the ears. authentic poetry for the ears. With a scholastic conducting not exempt of strength and passion, the Musical Director of the Joven Orquesta Sinfónica de Burgos, pulled the strings throughout the evening, achieving that characteristic Mozartian sound in many passages in which the winds shone at a high level. The connection between the pit and the soloists was palpable at all times, as was his great solidarity with the tenor, whom he wrapped up in all his interventions before the immensity of the Bilbao auditorium. The apotheosic finale, full of passion and intensity, with a dedicated conductor and musicians of the Sinfónica de Euskadi involved as we have rarely seen, was a highlight.
Scherzo (30.01.23) · Asier Vallejo Ugarte
It was on the musical level that this Così by Opera Berri gained in freshness compared to the opening performance. Pedro Bartolomé (1987), musical director of the Joven Orquesta Sinfónica de Burgos, was making his debut in the pit of the Euskalduna after having worked as assistant to maestros such as Frizza, Oren, Luisotti or Rousset in important venues in Madrid, Bilbao, Seville or Las Palmas de Gran Canaria, and won the greatest applause of the evening as a just reward for his way of combining the warm Mozartian melody with the fluidity of Dapontian theatre. He found the Euskadiko Orkestra with more experience than in the opening performance, more exciting in sound, and this was the final impetus for the rhythm of the evening.
Pro Ópera (30.01.23) · José Nogueira
The ABAO production, on this occasion (Ópera Berri) featured the young baton of Pedro Bartolomé conducting the Euskadiko Orkestra, who offered a very dynamic and intense conduction, in which we could appreciate a great complicity with the members of the Sinfónica de Euskadi. Tremendously passionate and very dedicated in his debut in Bilbao, the maestro from Burgos stood out in the work of accompanying the singers, giving the audience authentic Mozartian passages. Brilliant in the overture and supportive in various passages with the tenor, he impressed in the second act, embroidering the succession of numbers written by the genius of Salzburg. After offering a vibrant finale that managed to move the audience, he received a standing ovation when he came out to salute.
La Dolores · Teatro de la Zarzuela (Madrid)
Platea Magazine (11.02.23) · Gonzalo Lahoz
Impeccable, once again, Gerardo Bullón as Patricio, the rich man who thinks he can buy Dolores' will with money. His timbre is homogeneous, his ascent to the treble well resolved, his phrasing and delivery rich.
El Debate (05.02.23) · César Wonenburger
Gerardo Bullón, a favourite in this house, served up a magnificent performance, thanks to the beauty of his well-channelled baritonal voice, as well as his own composition of the mellifluous Patricio.
ABC (03.02.23) · Alberto González Puente
For this reason, in the first cast, Gerardo Bullón's vocal and gestural rectitude stands out (...).
Scherzo (01.02.23) · Manuel García Franco
It was a solid Patricio another baritone with simpler parts, Gerardo Bullón, who showed his easy emission.
Bachtrack (31.01.23) · David Santana Cañas
To finish with Dolores' suitors, we had Gerardo Bullón as Patricio, who played a role that stood out for the excellent interpretation of his character.
Codalario (30.01.23) · Raúl Chamorro Mena
For his part, the fatuous and cowardly landowner Patricio was impeccably incarnated by the baritone Gerardo Bullón, who was uninhibited and dominated the scene interpretatively, with his attractive and noble timbre as the banner of his magnificent vocal performance.
Ópera World (30.01.23) · José Antonio Lacárcel
As was the baritone Gerardo Bullón (a fine performance), very sober and elegant, although his character may have a lot of comedy in it. He looked confident, fluctuating between infatuation and cowardice. As a singer he has a well-toned voice, very well balanced throughout. It was a very interesting performance.
Periodista Digital (29.01.23) · José Catalán Deus
Gerardo Bullón in his role as Patricio, who seemed to us to be the best of the cast, focused, precise vocally and acting-wise.
Beckmesser (28.01.23) · Arturo Reverter
Baritone Gerardo Bullón also showed his class, his ease and his frankness in the rich Patricio.
El País (28.01.23) · Pablo L. Rodríguez
The level of the cast was also high among the four most Zarzuelan characters in the opera (...) and the baritone Gerardo Bullón a solid Patricio.
Impeccable, once again, Gerardo Bullón as Patricio, the rich man who thinks he can buy Dolores' will with money. His timbre is homogeneous, his ascent to the treble well resolved, his phrasing and delivery rich.
El Debate (05.02.23) · César Wonenburger
Gerardo Bullón, a favourite in this house, served up a magnificent performance, thanks to the beauty of his well-channelled baritonal voice, as well as his own composition of the mellifluous Patricio.
ABC (03.02.23) · Alberto González Puente
For this reason, in the first cast, Gerardo Bullón's vocal and gestural rectitude stands out (...).
Scherzo (01.02.23) · Manuel García Franco
It was a solid Patricio another baritone with simpler parts, Gerardo Bullón, who showed his easy emission.
Bachtrack (31.01.23) · David Santana Cañas
To finish with Dolores' suitors, we had Gerardo Bullón as Patricio, who played a role that stood out for the excellent interpretation of his character.
Codalario (30.01.23) · Raúl Chamorro Mena
For his part, the fatuous and cowardly landowner Patricio was impeccably incarnated by the baritone Gerardo Bullón, who was uninhibited and dominated the scene interpretatively, with his attractive and noble timbre as the banner of his magnificent vocal performance.
Ópera World (30.01.23) · José Antonio Lacárcel
As was the baritone Gerardo Bullón (a fine performance), very sober and elegant, although his character may have a lot of comedy in it. He looked confident, fluctuating between infatuation and cowardice. As a singer he has a well-toned voice, very well balanced throughout. It was a very interesting performance.
Periodista Digital (29.01.23) · José Catalán Deus
Gerardo Bullón in his role as Patricio, who seemed to us to be the best of the cast, focused, precise vocally and acting-wise.
Beckmesser (28.01.23) · Arturo Reverter
Baritone Gerardo Bullón also showed his class, his ease and his frankness in the rich Patricio.
El País (28.01.23) · Pablo L. Rodríguez
The level of the cast was also high among the four most Zarzuelan characters in the opera (...) and the baritone Gerardo Bullón a solid Patricio.
Doña Francisquita · Teatro Villamarta (Jerez)
Beckmesser (01.02.23) · Andrés Moreno Mengíbar
Carlos Aragón made the Malaga orchestra sound with delicacy, with a transparent sound from the first scene, rich in chromatic nuances, almost chamber-like, like a serene dialogue with the voices without ever covering them up, thus achieving one of the most refined orchestral performances in the Jerez pit in living memory. His knowledge of the voices allowed Aragón to breathe with complicity with the singers in perfect balance.
Cristina del Barrio brought her interpretation of Aurora la Beltrana closer to the aesthetic of the tonadilleras, bringing out her chest voice and natural emission in the most passionate moments, but with changes to the impostured voice in others that reveal an attractive voice with warm profiles.
Ópera Actual (31.01.23) · Nicolás Montoya
Carlos Aragón's baton carried the soloists and the choir along, rocking the voices of all, with a slow tempo that controlled the score at all times.
The rest of the cast completed a very rounded performance, from the choir's own partiquinos to Cristina del Barrio's Aurora, with brilliant colour and perfect execution between the bass and treble.
La Voz del Sur (28.01.23) · Joaquín Piñeiro Blanca
The Orquesta Filarmónica de Málaga conducted by Carlos Aragón achieved brilliant moments in several numbers of the work, especially the magnificent and extensive first scene of the work and in the exuberant Fandango of the third act (...), evoking the compositional style of this composer in a masterly way. He also managed to maintain dramatic continuity in a work more complex than is usual in zarzuela, abundant in concertante numbers, with a large number of episodic characters with phrases and an orchestration showing different criteria, due to the intervention of other composers in aid of an ill Vives in the moments prior to the premiere (...).
The performance of the Segovian singer Cristina del Barrio was as authentic and passionate as could be expected, standing out in the final scene of the first act (Soy madrileña), in the duet with Fernando (Escúchame!) and in the Bolero del Marabú, three very different moments in which the ductility of her composition of the character was evident.
Diario de Jerez (28.01.23) · Nicolás Montoya
Carlos Aragón's baton carried the soloists and the choir through the walls of the taverns and the windows of the narrow streets of Madrid that the Villamarta became, rocking the voices of all of them, with a slow tempo that controlled at all times the development of the vocal registers that each moment required in aspects such as energy, vocal agility, musicality and weight, given the great difficulty of some of them.
From the partiquinos of the chorus itself, once again doing a commendable job, to the rest of the characters such as Aurora, the Beltrana (Cristina del Barrio) full of self-confidence, sensuality and expressiveness with brilliant colour and perfect execution between the low and high notes and a wide range of interpretative resources.
Carlos Aragón made the Malaga orchestra sound with delicacy, with a transparent sound from the first scene, rich in chromatic nuances, almost chamber-like, like a serene dialogue with the voices without ever covering them up, thus achieving one of the most refined orchestral performances in the Jerez pit in living memory. His knowledge of the voices allowed Aragón to breathe with complicity with the singers in perfect balance.
Cristina del Barrio brought her interpretation of Aurora la Beltrana closer to the aesthetic of the tonadilleras, bringing out her chest voice and natural emission in the most passionate moments, but with changes to the impostured voice in others that reveal an attractive voice with warm profiles.
Ópera Actual (31.01.23) · Nicolás Montoya
Carlos Aragón's baton carried the soloists and the choir along, rocking the voices of all, with a slow tempo that controlled the score at all times.
The rest of the cast completed a very rounded performance, from the choir's own partiquinos to Cristina del Barrio's Aurora, with brilliant colour and perfect execution between the bass and treble.
La Voz del Sur (28.01.23) · Joaquín Piñeiro Blanca
The Orquesta Filarmónica de Málaga conducted by Carlos Aragón achieved brilliant moments in several numbers of the work, especially the magnificent and extensive first scene of the work and in the exuberant Fandango of the third act (...), evoking the compositional style of this composer in a masterly way. He also managed to maintain dramatic continuity in a work more complex than is usual in zarzuela, abundant in concertante numbers, with a large number of episodic characters with phrases and an orchestration showing different criteria, due to the intervention of other composers in aid of an ill Vives in the moments prior to the premiere (...).
The performance of the Segovian singer Cristina del Barrio was as authentic and passionate as could be expected, standing out in the final scene of the first act (Soy madrileña), in the duet with Fernando (Escúchame!) and in the Bolero del Marabú, three very different moments in which the ductility of her composition of the character was evident.
Diario de Jerez (28.01.23) · Nicolás Montoya
Carlos Aragón's baton carried the soloists and the choir through the walls of the taverns and the windows of the narrow streets of Madrid that the Villamarta became, rocking the voices of all of them, with a slow tempo that controlled at all times the development of the vocal registers that each moment required in aspects such as energy, vocal agility, musicality and weight, given the great difficulty of some of them.
From the partiquinos of the chorus itself, once again doing a commendable job, to the rest of the characters such as Aurora, the Beltrana (Cristina del Barrio) full of self-confidence, sensuality and expressiveness with brilliant colour and perfect execution between the low and high notes and a wide range of interpretative resources.
Requiem by Verdi · Gran Teatro de Córdoba
Codalario (31.01.23) · José Antonio Cantón
In the same sense, we should understand the desperate expressiveness (as a contrasting hopeful feeling in the face of the mournful nature of the text) of the Cantabrian tenor Alejandro del Cerro, always accurate in his interventions.
Scherzo (31.01.23) · C. Crespo García
The tenor Alejandro del Cerro showed ease and power in the high notes (...).
El Día de Córdoba (27.01.23) · Antonio Torralba
We were also able to admire the expressive and subtle art of Alejandro del Cerro, especially in the number Ingemisco tamquam reus, another of the highlights of the Dies irae.
In the same sense, we should understand the desperate expressiveness (as a contrasting hopeful feeling in the face of the mournful nature of the text) of the Cantabrian tenor Alejandro del Cerro, always accurate in his interventions.
Scherzo (31.01.23) · C. Crespo García
The tenor Alejandro del Cerro showed ease and power in the high notes (...).
El Día de Córdoba (27.01.23) · Antonio Torralba
We were also able to admire the expressive and subtle art of Alejandro del Cerro, especially in the number Ingemisco tamquam reus, another of the highlights of the Dies irae.
Parsifal · Palacio de Congresos de Badajoz
Ópera Actual (30.01.23) · José María Marco
Excellent Javier Castañeda in his brief but tormented Titurel.
Beckmesser (29.01.23) · Santiago Míguez de la Rosa
Javier Castañeda, Titurel, despite his brief appearance, off-stage, shows expression and vocal strength, characteristics demanded of Amfortas' father.
Scherzo (28.01.23) · Andrés Moreno Mengíbar
Despite his brief off-stage intervention, the quality of Javier Castañeda's voice as Titurel could be appreciated.
Excellent Javier Castañeda in his brief but tormented Titurel.
Beckmesser (29.01.23) · Santiago Míguez de la Rosa
Javier Castañeda, Titurel, despite his brief appearance, off-stage, shows expression and vocal strength, characteristics demanded of Amfortas' father.
Scherzo (28.01.23) · Andrés Moreno Mengíbar
Despite his brief off-stage intervention, the quality of Javier Castañeda's voice as Titurel could be appreciated.
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.