Carmen · Teatro de la Maestranza (Seville)
Ópera Actual (24.06.25) · Juan José Roldán
With a longer professional career and more leading roles to his name, the Cantabrian Alejandro del Cerro delved deeper into his interpretation of the ambiguous and quarrelsome character of Don José, equally prone to tenderness and to absolute rigidity when faced with adversity. Thus, he sang La fleur que tu m'avais jetée with a considerable dose of romanticism, controlling dynamics and register shifts with both sensitivity and a touch of affectation, while bringing visceral intensity to the tragic final scene.
The baritone from Palencia, Javier Castañeda, portrayed a solid Zúñiga—restrained as an actor and commanding as a singer.
Opera World (20.06.25) · Gonzalo Roldán Herencia
Also noteworthy were Javier Castañeda (Zúñiga), Alejandro Sánchez (Morales), Pablo Gálvez (Dancaire), and Pablo García López (Remendado), all of whom demonstrated impeccable vocal technique and excellent ensemble coordination.
Platea Magazine (19.06.25) · Javier del Olivo
Alejandro del Cerro was a well-crafted Don José, showing great preparation in his role. I dare say that this repertoire and language may not be where the singer from Santander feels most at ease, yet his performance of the most famous aria from his role, ‘La fleur que tu m’avais jetée,’ was admirable. He nuanced it appropriately and delivered his phrases with immense taste, just as in the final duet. His voice, well-timbered in the upper register, effortlessly carried throughout the theatre.
Diario de Sevilla (19.06.25) · Andrés Moreno
Alejandro del Cerro, with his well-projected voice and vibrant, muscular phrasing, perfectly embodied the character of Don José—both insecure and violent. His performance culminated in a final scene of anthological stature, preceded by a “Flower Song” delivered with lyrical grace and delicacy in vocal emission.
Platea Magazine (14.06.25) · Javier del Olivo
Javier Castañeda's Zúñiga was also noteworthy.
ABC (14.06.25) · Carlos Tarín
Javier Castañeda (Zúñiga) wielded his torrential voice in service of his military rank.
With a longer professional career and more leading roles to his name, the Cantabrian Alejandro del Cerro delved deeper into his interpretation of the ambiguous and quarrelsome character of Don José, equally prone to tenderness and to absolute rigidity when faced with adversity. Thus, he sang La fleur que tu m'avais jetée with a considerable dose of romanticism, controlling dynamics and register shifts with both sensitivity and a touch of affectation, while bringing visceral intensity to the tragic final scene.
The baritone from Palencia, Javier Castañeda, portrayed a solid Zúñiga—restrained as an actor and commanding as a singer.
Opera World (20.06.25) · Gonzalo Roldán Herencia
Also noteworthy were Javier Castañeda (Zúñiga), Alejandro Sánchez (Morales), Pablo Gálvez (Dancaire), and Pablo García López (Remendado), all of whom demonstrated impeccable vocal technique and excellent ensemble coordination.
Platea Magazine (19.06.25) · Javier del Olivo
Alejandro del Cerro was a well-crafted Don José, showing great preparation in his role. I dare say that this repertoire and language may not be where the singer from Santander feels most at ease, yet his performance of the most famous aria from his role, ‘La fleur que tu m’avais jetée,’ was admirable. He nuanced it appropriately and delivered his phrases with immense taste, just as in the final duet. His voice, well-timbered in the upper register, effortlessly carried throughout the theatre.
Diario de Sevilla (19.06.25) · Andrés Moreno
Alejandro del Cerro, with his well-projected voice and vibrant, muscular phrasing, perfectly embodied the character of Don José—both insecure and violent. His performance culminated in a final scene of anthological stature, preceded by a “Flower Song” delivered with lyrical grace and delicacy in vocal emission.
Platea Magazine (14.06.25) · Javier del Olivo
Javier Castañeda's Zúñiga was also noteworthy.
ABC (14.06.25) · Carlos Tarín
Javier Castañeda (Zúñiga) wielded his torrential voice in service of his military rank.
La tabernera del puerto · Teatro de la Zarzuela (Madrid)
Ópera Actual (20.06.25) · Rocío Garcialonso
Ruth González was ideal in the role of the young Abel, bringing to the character the musicality and playfulness it demands.
Ópera Actual (16.06.25) · Mario Muñoz
The rest of the cast were flawless in their respective roles, each providing a perfect dramatic counterbalance. Special affection must be reserved for Ruth González, who could not have embodied the romantic utopia of youth more convincingly, both vocally and in her acting.
Platea Magazine (09.06.25) · Javier Pérez
Ruth González embodies the child character Abel to perfection.
Opera World (08.06.25) · José Antonio
Special mention must be made of the character Abel, portrayed with sensitivity by Ruth González. She sang with refinement and conveyed that touch of melancholy, nostalgia, unrequited first love, and the intensity of adolescent passions with great finesse.
Scherzo (07.06.25) · Manuel García Franco
Outstanding performances from Vicky Peña (Antigua) and Pep Molina (Chinchorro), joined in the comic register by Ángel Ruiz (Ripalda) and soprano Ruth González (Abel), portraying a dreamy, love-struck young man who brings a light and humorous counterpoint to the dramatic action, combining vocal finesse with strong theatrical presence.
Ruth González was ideal in the role of the young Abel, bringing to the character the musicality and playfulness it demands.
Ópera Actual (16.06.25) · Mario Muñoz
The rest of the cast were flawless in their respective roles, each providing a perfect dramatic counterbalance. Special affection must be reserved for Ruth González, who could not have embodied the romantic utopia of youth more convincingly, both vocally and in her acting.
Platea Magazine (09.06.25) · Javier Pérez
Ruth González embodies the child character Abel to perfection.
Opera World (08.06.25) · José Antonio
Special mention must be made of the character Abel, portrayed with sensitivity by Ruth González. She sang with refinement and conveyed that touch of melancholy, nostalgia, unrequited first love, and the intensity of adolescent passions with great finesse.
Scherzo (07.06.25) · Manuel García Franco
Outstanding performances from Vicky Peña (Antigua) and Pep Molina (Chinchorro), joined in the comic register by Ángel Ruiz (Ripalda) and soprano Ruth González (Abel), portraying a dreamy, love-struck young man who brings a light and humorous counterpoint to the dramatic action, combining vocal finesse with strong theatrical presence.
La corte de Faraón · Teatro Campoamor (Oviedo)
Opera World (16.05.25) · Pablo Álvarez Siana
Also performing at home were Ra, Sel, and Ta, three Asturian widows portrayed by Serena Pérez, María Heres, and Ana Nebot, who stood out for their dancing and singing, blending their voices beautifully and joining a cast that proudly champions the voices of their native land.
Also performing at home were Ra, Sel, and Ta, three Asturian widows portrayed by Serena Pérez, María Heres, and Ana Nebot, who stood out for their dancing and singing, blending their voices beautifully and joining a cast that proudly champions the voices of their native land.
Don Juan no existe · Teatros del Canal (Madrid)
Platea Magazine (13.05.25) · Enrique Bert
Josep-Ramón Olivé brings an imposing stage presence and a dense, beautifully coloured voice, lending gravitas both to the condescending friend and to the ghost of Don Juan himself.
Ópera Actual (08.05.25) · José María Marco
(...) The other roles were well portrayed by baritone Josep-Ramon Olivé and tenor Pablo García-López.
Josep-Ramón Olivé brings an imposing stage presence and a dense, beautifully coloured voice, lending gravitas both to the condescending friend and to the ghost of Don Juan himself.
Ópera Actual (08.05.25) · José María Marco
(...) The other roles were well portrayed by baritone Josep-Ramon Olivé and tenor Pablo García-López.
The Tale of Tsar Saltan · Teatro Real (Madrid)
Codalario (08.05.25) · Raúl Chamorro Mena
A highlight was the performance of tenor Alejandro del Cerro, the only Spanish member of the cast.
Ópera Actual (01.05.25) · José María Marco
And very good performances from Evgeny Akimov, Alexander Vassiliev, and Alexander Kravets, with special mention for Alejandro del Cerro in his magnificent and powerful portrayal of the Messenger.
A highlight was the performance of tenor Alejandro del Cerro, the only Spanish member of the cast.
Ópera Actual (01.05.25) · José María Marco
And very good performances from Evgeny Akimov, Alexander Vassiliev, and Alexander Kravets, with special mention for Alejandro del Cerro in his magnificent and powerful portrayal of the Messenger.
Don Pasquale · Teatro Principal (Burgos)
Ópera Actual (05.05.25) · Javier Centeno
The veteran baritone Pablo López took on the title role in Don Pasquale, displaying a remarkable comic instinct. He brought opera closer to the wider public by striking a fine balance between caricature and tenderness, demonstrating an impeccable sense of theatrical timing.
Soprano Anna Cabrera was one of the evening’s standout discoveries: her Norina/Sofronia was technically flawless, featuring brilliant high notes, great vocal agility, and an acting ability that allowed her to navigate the character’s shifts in tone with ease.
From the podium, Burgos-born maestro Pedro Bartolomé conducted the Joven Orquesta Sinfónica de Burgos with expert command, achieving an admirable balance between singers and orchestra. His direction was agile and nuanced, respectful of the singers and attentive to every detail in the score, proving crucial to the production’s overall success.
The veteran baritone Pablo López took on the title role in Don Pasquale, displaying a remarkable comic instinct. He brought opera closer to the wider public by striking a fine balance between caricature and tenderness, demonstrating an impeccable sense of theatrical timing.
Soprano Anna Cabrera was one of the evening’s standout discoveries: her Norina/Sofronia was technically flawless, featuring brilliant high notes, great vocal agility, and an acting ability that allowed her to navigate the character’s shifts in tone with ease.
From the podium, Burgos-born maestro Pedro Bartolomé conducted the Joven Orquesta Sinfónica de Burgos with expert command, achieving an admirable balance between singers and orchestra. His direction was agile and nuanced, respectful of the singers and attentive to every detail in the score, proving crucial to the production’s overall success.
A solas con Marilyn · Teatro de la Maestranza (Seville)
Codalario (02.05.25) · José Amador Morales
The vocal performances reached remarkable heights, particularly thanks to the leading role of Ruth González, already well-versed in this kind of repertoire (just a few months ago, she impressed in an outstanding Lazarillo, another recent stage creation by David del Puerto). Her light, versatile voice, marked by a very distinctive timbre, was shaped through phrasing of great expressive depth, complemented by clear diction and impeccable dramatic commitment. In short, a fully realised characterisation by this soprano from Tenerife, who met the role’s technical demands and emotional intensity with great skill.
For her part, Blanca Valido delivered a well-judged performance, providing the necessary contrast in vocal colour thanks to her mezzo-soprano voice, which was both even in tone and skilful in articulation.
Diario de Sevilla (29.04.25) · Pablo J. Bayón
David del Puerto and Alfonso Zurro present a disturbing, unsettling opera in which the myth of Medea is rewritten through a contemporary lens, tinged with shadows and repressed impulses that erupt in the perversions of the character — portrayed with notable vocal consistency by Blanca Valido.
In his writing, one senses the hand of a dramatist unwilling to merely illustrate a story — instead, he stretches it, exposes it, drags it to its limits. And it is precisely there that Ruth González excels, with a polished upper register, an impeccable ease in transitioning between singing and spoken language, and a steely resistance to the discomfort of performing while her body is smeared with various substances. Hers is a performance built on tension, minimal gesture, and sustained expressiveness. She is the one who gives flesh to the horror embedded in the work, who transforms symbol into lived experience.
The vocal performances reached remarkable heights, particularly thanks to the leading role of Ruth González, already well-versed in this kind of repertoire (just a few months ago, she impressed in an outstanding Lazarillo, another recent stage creation by David del Puerto). Her light, versatile voice, marked by a very distinctive timbre, was shaped through phrasing of great expressive depth, complemented by clear diction and impeccable dramatic commitment. In short, a fully realised characterisation by this soprano from Tenerife, who met the role’s technical demands and emotional intensity with great skill.
For her part, Blanca Valido delivered a well-judged performance, providing the necessary contrast in vocal colour thanks to her mezzo-soprano voice, which was both even in tone and skilful in articulation.
Diario de Sevilla (29.04.25) · Pablo J. Bayón
David del Puerto and Alfonso Zurro present a disturbing, unsettling opera in which the myth of Medea is rewritten through a contemporary lens, tinged with shadows and repressed impulses that erupt in the perversions of the character — portrayed with notable vocal consistency by Blanca Valido.
In his writing, one senses the hand of a dramatist unwilling to merely illustrate a story — instead, he stretches it, exposes it, drags it to its limits. And it is precisely there that Ruth González excels, with a polished upper register, an impeccable ease in transitioning between singing and spoken language, and a steely resistance to the discomfort of performing while her body is smeared with various substances. Hers is a performance built on tension, minimal gesture, and sustained expressiveness. She is the one who gives flesh to the horror embedded in the work, who transforms symbol into lived experience.
El bateo / La revoltosa · Teatro de la Zarzuela (Madrid)
Platea Magazine (14.04.25) · Javier Pérez
First and foremost, attention must be drawn to Gerardo Bullón, who, as the dual protagonist in both zarzuelas, playing the characters of Wamba and Felipe, excelled by showcasing his superb and rich baritone voice with depth and polish, along with excellent and engaging nuances.
Blanca Valido's tone is a pleasant one.
Opera World (14.04.25) · José Antonio Lacárcel
In Chueca's play (El bateo), Gerardo Bullón naturally took centre stage in the role of Wamba, the amusing “anarchist” who refuses to set foot in a church but nonetheless agrees to be the godfather at Nieves’ child’s baptism. He was both witty and charming, particularly in his famous tango, and consistently filled the stage with his skill and charisma. (In La revoltosa), Bullón brought to life a compelling Felipe. His performance in the duet was especially brilliant—sung with taste, talent and passionate expression. He showcased his beautiful lyric baritone voice, with a touch of tenorial colour, and drew out all the richness that the score demands.
Blanca Valido was an excellent Soledad, shining particularly in the guajiras. However, she maintained a consistently high level throughout, with a beautiful, well-timbred voice, and especially demonstrated quality in her high notes.
Codalario (14.04.25) · Raúl Chamorro Mena
Within the cast, special mention must go to baritone Gerardo Bullón, who combined his vocal virtues — nobility, richness, and beauty of timbre — with a remarkable interpretative ability, allowing him to convincingly portray two such contrasting characters as the revolutionary-minded anarchist Wamba and the jealous chulapo Felipe. (…) Indeed, it would be difficult to find a Felipe who delivers his lines in the famous duet with Mari Pepa in La revoltosa with greater fervour and tonal beauty.
Blanca Valido delivered her soleares with commendable accuracy, despite an uncomfortable stage position and being styled somewhat incongruously as a sort of barmaid from an American saloon.
Beckmesser (12.04.25) · Gonzalo Alonso
Javier Franco assumes the dual responsibility of portraying Wamba in El bateo and Felipe in La revoltosa, and fulfils both roles with distinction.
Scherzo (11.04.25) · Manuel García Franco
Gerardo Bullón stood out more as Felipe than as Wamba. He imbued the former with inspired delivery in the spoken passages and, with a secure and powerful baritonal centre, tackled the celebrated duet alongside soprano Berna Perles — his Mari-Pepa — with great musicality.
Ópera Actual (11.04.25) · Rocío Garcialonso
Gerardo Bullón portrayed the anarchist Wamba with charm and considerable vocal and dramatic assurance. (In La revoltosa), he once again brought strength and commitment to his character.
El País (10.04.25) · Jorge Fernández Guerra
It is only fitting to highlight the contribution of Gerardo Bullón, if only for his dual performance: a wildly spirited and amusing anarchist in El bateo, and Felipe in La revoltosa — two markedly different roles that put the acting skills of this vocally outstanding baritone to the test.
El Debate (10.04.25) · César Wonenburguer
(...) And the marvellous work of the great triumph of the evening, Gerardo Bullón.
First and foremost, attention must be drawn to Gerardo Bullón, who, as the dual protagonist in both zarzuelas, playing the characters of Wamba and Felipe, excelled by showcasing his superb and rich baritone voice with depth and polish, along with excellent and engaging nuances.
Blanca Valido's tone is a pleasant one.
Opera World (14.04.25) · José Antonio Lacárcel
In Chueca's play (El bateo), Gerardo Bullón naturally took centre stage in the role of Wamba, the amusing “anarchist” who refuses to set foot in a church but nonetheless agrees to be the godfather at Nieves’ child’s baptism. He was both witty and charming, particularly in his famous tango, and consistently filled the stage with his skill and charisma. (In La revoltosa), Bullón brought to life a compelling Felipe. His performance in the duet was especially brilliant—sung with taste, talent and passionate expression. He showcased his beautiful lyric baritone voice, with a touch of tenorial colour, and drew out all the richness that the score demands.
Blanca Valido was an excellent Soledad, shining particularly in the guajiras. However, she maintained a consistently high level throughout, with a beautiful, well-timbred voice, and especially demonstrated quality in her high notes.
Codalario (14.04.25) · Raúl Chamorro Mena
Within the cast, special mention must go to baritone Gerardo Bullón, who combined his vocal virtues — nobility, richness, and beauty of timbre — with a remarkable interpretative ability, allowing him to convincingly portray two such contrasting characters as the revolutionary-minded anarchist Wamba and the jealous chulapo Felipe. (…) Indeed, it would be difficult to find a Felipe who delivers his lines in the famous duet with Mari Pepa in La revoltosa with greater fervour and tonal beauty.
Blanca Valido delivered her soleares with commendable accuracy, despite an uncomfortable stage position and being styled somewhat incongruously as a sort of barmaid from an American saloon.
Beckmesser (12.04.25) · Gonzalo Alonso
Javier Franco assumes the dual responsibility of portraying Wamba in El bateo and Felipe in La revoltosa, and fulfils both roles with distinction.
Scherzo (11.04.25) · Manuel García Franco
Gerardo Bullón stood out more as Felipe than as Wamba. He imbued the former with inspired delivery in the spoken passages and, with a secure and powerful baritonal centre, tackled the celebrated duet alongside soprano Berna Perles — his Mari-Pepa — with great musicality.
Ópera Actual (11.04.25) · Rocío Garcialonso
Gerardo Bullón portrayed the anarchist Wamba with charm and considerable vocal and dramatic assurance. (In La revoltosa), he once again brought strength and commitment to his character.
El País (10.04.25) · Jorge Fernández Guerra
It is only fitting to highlight the contribution of Gerardo Bullón, if only for his dual performance: a wildly spirited and amusing anarchist in El bateo, and Felipe in La revoltosa — two markedly different roles that put the acting skills of this vocally outstanding baritone to the test.
El Debate (10.04.25) · César Wonenburguer
(...) And the marvellous work of the great triumph of the evening, Gerardo Bullón.
Dialogues des Carmélites · Palacio de Festivales (Santander)
Platea Magazine (31.03.25) · Enrique Bert
Her best friend, Sister Constance, was beautifully portrayed by Mar Morán, who gifted us with truly delightful phrasing in her first dialogue with Blanche.
Alejandro del Cerro broke away from the traditional tenor profile usually associated with the role of the Chevalier de la Force. Can one be blamed for offering too much voice? While the tradition leans towards lighter tenors, del Cerro brought a powerful instrument to the part, striving for nuance through half-voice passages and falsetto. A notable performance.
Scherzo (30.03.25) · Asier Vallejo Ugarte
Mar Morán’s Constance (a youthful, radiant voice with excellent projection) was a true embodiment of the beauty of life.
Alejandro del Cerro, for his part, brought no shortage of elegance to his portrayal of the Chevalier de la Force.
Her best friend, Sister Constance, was beautifully portrayed by Mar Morán, who gifted us with truly delightful phrasing in her first dialogue with Blanche.
Alejandro del Cerro broke away from the traditional tenor profile usually associated with the role of the Chevalier de la Force. Can one be blamed for offering too much voice? While the tradition leans towards lighter tenors, del Cerro brought a powerful instrument to the part, striving for nuance through half-voice passages and falsetto. A notable performance.
Scherzo (30.03.25) · Asier Vallejo Ugarte
Mar Morán’s Constance (a youthful, radiant voice with excellent projection) was a true embodiment of the beauty of life.
Alejandro del Cerro, for his part, brought no shortage of elegance to his portrayal of the Chevalier de la Force.