Li furbi · Little Opera Zamora
Ritmo (02.08.24) · Eustaquio Iribarren
Mar Morán triumphed in the role of the landowner Don Camilo, performing some of the most beautiful and complex arias in the entire work. She possesses a voice of beautiful colour, delivered with great musicality and refined technique. Her role, the least comedic in the libretto, unfolds through these showcase arias, which she approached with the appropriate lyricism and a well-prepared display of her talents.
Beckmesser (01.08.24) · Arturo Reverter
The most important and extensive arias are the three intended for the character of Don Camilo, likely written for a castrato—here performed with grace by soprano Mar Morán. (...) Mar Morán must be mentioned first, dressed as a woman in trousers, though we know she is portraying a man—the master of the house. Her voice, a shimmering light lyric soprano with richness and finely polished metal, displayed excellent singing artistry. She delivered her challenging part with flair and elegance.
Mar Morán triumphed in the role of the landowner Don Camilo, performing some of the most beautiful and complex arias in the entire work. She possesses a voice of beautiful colour, delivered with great musicality and refined technique. Her role, the least comedic in the libretto, unfolds through these showcase arias, which she approached with the appropriate lyricism and a well-prepared display of her talents.
Beckmesser (01.08.24) · Arturo Reverter
The most important and extensive arias are the three intended for the character of Don Camilo, likely written for a castrato—here performed with grace by soprano Mar Morán. (...) Mar Morán must be mentioned first, dressed as a woman in trousers, though we know she is portraying a man—the master of the house. Her voice, a shimmering light lyric soprano with richness and finely polished metal, displayed excellent singing artistry. She delivered her challenging part with flair and elegance.
Madama Butterfly · Teatro Real (Madrid)
Codalario (10.07.24) · Raúl Chamorro Mena
The Madrid-born baritone Gerardo Bullón delivered a splendid Sharpless, despite a few strained high notes. Vocally, he showcased a beautiful, noble, and resonant timbre, while dramatically, he offered a magnificent and precise portrayal of the consul. Bullón employed all his acting talents, leaving no accent or nuance unexpressed, to convey the full humanity of the character, who foresees the tragic outcome of the plot.
Ópera Actual (09.07.24) · Mario Muñoz
Gerardo Bullón's Sharpless also made a strong impression from an acting perspective, skillfully navigating the complex role of a bridge between the monstrous side of American society and the servility of those who welcome him. His letter-reading scene was poignant, showcasing once again his vocal consistency across registers, rounded singing, perfect diction, and a deep sense of drama.
Scherzo (03.07.24) · Andrés Moreno Mengíbar
To continue with the aspects that on this second day surpassed those of the first, Gerardo Bullón's Sharpless benefited from the beautiful colour of his voice and its roundness across all registers. He knows how to deliver the text clearly and imbue it with convincing accents, as was evident in his warnings to Pinkerton and, especially, in the scene with Cio-Cio-San in the second act, with phrasing chiselled to perfection.
The Madrid-born baritone Gerardo Bullón delivered a splendid Sharpless, despite a few strained high notes. Vocally, he showcased a beautiful, noble, and resonant timbre, while dramatically, he offered a magnificent and precise portrayal of the consul. Bullón employed all his acting talents, leaving no accent or nuance unexpressed, to convey the full humanity of the character, who foresees the tragic outcome of the plot.
Ópera Actual (09.07.24) · Mario Muñoz
Gerardo Bullón's Sharpless also made a strong impression from an acting perspective, skillfully navigating the complex role of a bridge between the monstrous side of American society and the servility of those who welcome him. His letter-reading scene was poignant, showcasing once again his vocal consistency across registers, rounded singing, perfect diction, and a deep sense of drama.
Scherzo (03.07.24) · Andrés Moreno Mengíbar
To continue with the aspects that on this second day surpassed those of the first, Gerardo Bullón's Sharpless benefited from the beautiful colour of his voice and its roundness across all registers. He knows how to deliver the text clearly and imbue it with convincing accents, as was evident in his warnings to Pinkerton and, especially, in the scene with Cio-Cio-San in the second act, with phrasing chiselled to perfection.
Doña Francisquita · Teatro de la Zarzuela (Madrid)
Platea Magazine (03.07.24) · Jordi Maddaleno
Brave, with a heroic timbre and expressive boldness, Alejandro del Cerro's Fernando was notable. Always expansive and empathetic in his singing, he reached the end of the performance somewhat fatigued, undoubtedly in the most challenging and demanding role of the zarzuela. He demonstrated solid technical skill and generous interpretative spirit.
Codalario (29.06.24) · José Antonio Lacárcel
The tenor Alejandro del Cerro brought the character of Fernando to life. He possesses a broad, powerful voice, and I would say he is close to being an almost spinto tenor. He maintained a fairly consistent line, although I would have preferred less stiffness at certain moments. His rendition of the well-known "Por el humo se sabe..." was, in my opinion, quite successful, as was the duet with Francisquita, "Le van a oir, cállese usted, imprudente," where he gave strength and vigour to his character. He is confident, very confident, in the high notes, passages in which he seems quite comfortable.
Ópera Actual (24.06.24) · Mario Muñoz
Alejandro del Cerro intelligently sought the nuances and subtleties of a Fernando that extends beyond "Por el humo se sabe dónde está el fuego." Nonetheless, he did not overlook the importance of the moment: on a stage level, his romanza is the first highlight of the production, and Del Cerro approached it with dedication and a suggestive tone in the mid-range.
Brave, with a heroic timbre and expressive boldness, Alejandro del Cerro's Fernando was notable. Always expansive and empathetic in his singing, he reached the end of the performance somewhat fatigued, undoubtedly in the most challenging and demanding role of the zarzuela. He demonstrated solid technical skill and generous interpretative spirit.
Codalario (29.06.24) · José Antonio Lacárcel
The tenor Alejandro del Cerro brought the character of Fernando to life. He possesses a broad, powerful voice, and I would say he is close to being an almost spinto tenor. He maintained a fairly consistent line, although I would have preferred less stiffness at certain moments. His rendition of the well-known "Por el humo se sabe..." was, in my opinion, quite successful, as was the duet with Francisquita, "Le van a oir, cállese usted, imprudente," where he gave strength and vigour to his character. He is confident, very confident, in the high notes, passages in which he seems quite comfortable.
Ópera Actual (24.06.24) · Mario Muñoz
Alejandro del Cerro intelligently sought the nuances and subtleties of a Fernando that extends beyond "Por el humo se sabe dónde está el fuego." Nonetheless, he did not overlook the importance of the moment: on a stage level, his romanza is the first highlight of the production, and Del Cerro approached it with dedication and a suggestive tone in the mid-range.
La Cenerentola · Teatro Circo (Albacete)
Opera World (17.06.24) · Federico Figueroa
Dandini, his squire, portrayed by bass-baritone Javier Agudo, earned applause for his elegant and well-tuned voice, a powerful stream with an attractive timbre that he knows how to manage expertly.
Dandini, his squire, portrayed by bass-baritone Javier Agudo, earned applause for his elegant and well-tuned voice, a powerful stream with an attractive timbre that he knows how to manage expertly.
Rigoletto · Teatro Marquina (Madrid)
El Debate (15.06.24) · César Wonenburger
Therefore, the most notable aspect of this performance, which was highly applauded and even received a standing ovation at the end, was (unsurprisingly) the duets featuring Javier Franco. He portrayed a human and fragile Rigoletto, characterized by his voice and the resources of an artist committed to seeking the perfect expression appropriate for each moment, without excess.
Therefore, the most notable aspect of this performance, which was highly applauded and even received a standing ovation at the end, was (unsurprisingly) the duets featuring Javier Franco. He portrayed a human and fragile Rigoletto, characterized by his voice and the resources of an artist committed to seeking the perfect expression appropriate for each moment, without excess.
Lazarillo · Cartuja Center (Seville)
Diario de Sevilla (19.05.24) · Andrés Moreno Mengíbar
The staging, within the simplicity of its means, works thanks to good stage movement and the strong acting abilities of the singers. Ruth González stands out, splendid as both an actress and a singer, with her bell-like voice and phrasing that reveals the innocent character who is a victim of the prejudices and miseries of the society around her (...) and Blanca Valido with her deep voice.
The staging, within the simplicity of its means, works thanks to good stage movement and the strong acting abilities of the singers. Ruth González stands out, splendid as both an actress and a singer, with her bell-like voice and phrasing that reveals the innocent character who is a victim of the prejudices and miseries of the society around her (...) and Blanca Valido with her deep voice.
Los gavilanes · Teatro de la Maestranza (Seville)
Codalario (14.05.24) · José Amador Morales
On his part, Alejandro del Cerro achieved unquestionable success in the role of the romantic Gustavo thanks to his musicality - beautiful phrasing in "Flor roja".
El Correo de Andalucía (10.05.24) · Juan José Roldán
The one who most convinced the audience, facilitated by his beautiful romances, was the Cantabrian tenor Alejandro del Cerro as Gustavo, who, although possessing an extremely high and occasionally strident timbre, exhibits a powerful voice that he modulates with agility and good taste.
Diario de Sevilla (09.05.24) · Andrés Moreno Mengíbar
Similarly, Alejandro del Cerro was both brilliant and lyrical, with very beautiful passages in "Flor roja".
On his part, Alejandro del Cerro achieved unquestionable success in the role of the romantic Gustavo thanks to his musicality - beautiful phrasing in "Flor roja".
El Correo de Andalucía (10.05.24) · Juan José Roldán
The one who most convinced the audience, facilitated by his beautiful romances, was the Cantabrian tenor Alejandro del Cerro as Gustavo, who, although possessing an extremely high and occasionally strident timbre, exhibits a powerful voice that he modulates with agility and good taste.
Diario de Sevilla (09.05.24) · Andrés Moreno Mengíbar
Similarly, Alejandro del Cerro was both brilliant and lyrical, with very beautiful passages in "Flor roja".
L'Olimpiade · Royal Opera House (London)
Operawire (10.05.24) · Alan Neilson
At the other end of the spectrum, yet equally compelling, was mezzo-soprano Alexandra Urquiola, who fashioned an emotionally charged rendition of Aristea. Sacrificing a degree of delicacy and subtlety, she engaged fully with her character’s feelings, successfully voicing the intensity of her pain and frustrations. Allowing herself a great deal of freedom, she injected plenty of color and dynamic and emotional accents into her singing as she plunged headfirst into a whirlpool full of anxiety, stress, frustration and unease. Her short aria, “Tu da me dividi,” in which she rages at Megacle’s falsity, was brilliantly crafted; every word, every sentence was enveloped by her anger as she spat out her lines.
The Arts Desk (06.05.24) · David Nice
This is a fire-breathing, virtuoso and commanding performance from Cuban-American Alexandra Urquiola.
At the other end of the spectrum, yet equally compelling, was mezzo-soprano Alexandra Urquiola, who fashioned an emotionally charged rendition of Aristea. Sacrificing a degree of delicacy and subtlety, she engaged fully with her character’s feelings, successfully voicing the intensity of her pain and frustrations. Allowing herself a great deal of freedom, she injected plenty of color and dynamic and emotional accents into her singing as she plunged headfirst into a whirlpool full of anxiety, stress, frustration and unease. Her short aria, “Tu da me dividi,” in which she rages at Megacle’s falsity, was brilliantly crafted; every word, every sentence was enveloped by her anger as she spat out her lines.
The Arts Desk (06.05.24) · David Nice
This is a fire-breathing, virtuoso and commanding performance from Cuban-American Alexandra Urquiola.