Adiós a la bohemia · Auditorio de Tenerife (Santa Cruz)
En Platea (10.12.25) · Celia García
Soprano Jaquelina Livieri, in her role as Trini, conveyed her character’s fragility and yearning with particular sensitivity. She sang with strength and commanded a compelling presence, moving the audience, especially in her rendition of the Romanza de Ascensión.
Bachtrack (10.12.25) · Ramón Pereira Blanco
Not far behind was the Vagabond, performed by bass Javier Castañeda, in his role as the introducer and epilogue of the work — a kind of leitmotif of realism — with brief but accomplished interventions.
Ópera Actual (09.12.25) · Estrella Ortega
Soprano Jaquelina Livieri, a central figure in this story, delivered a fully convincing Trini both vocally and dramatically, while Javier Castañeda, in his bass range, portrayed the vagabond with authority.
Soprano Jaquelina Livieri, in her role as Trini, conveyed her character’s fragility and yearning with particular sensitivity. She sang with strength and commanded a compelling presence, moving the audience, especially in her rendition of the Romanza de Ascensión.
Bachtrack (10.12.25) · Ramón Pereira Blanco
Not far behind was the Vagabond, performed by bass Javier Castañeda, in his role as the introducer and epilogue of the work — a kind of leitmotif of realism — with brief but accomplished interventions.
Ópera Actual (09.12.25) · Estrella Ortega
Soprano Jaquelina Livieri, a central figure in this story, delivered a fully convincing Trini both vocally and dramatically, while Javier Castañeda, in his bass range, portrayed the vagabond with authority.
Pelléas et Mélisande · Teatro Colón (A Coruña)
Beckmesser (11.12.25) · Julián Carrillo Sanz
Javier Agudo was more than commendable in his singing as the Doctor.
La Voz de Galicia (07.12.25) · Hugo Álvarez Domínguez
Javier Agudo performed well as both the Shepherd and the Doctor.
Scherzo (07.12.25) · Luis Suñén
Mónica Redondo, returning to A Coruña, as Geneviève, and Javier Agudo as the Doctor, both delivered flawless performances.
Ópera Actual (07.12.25) · José Luís Jiménez
Consistent Javier Agudo.
Javier Agudo was more than commendable in his singing as the Doctor.
La Voz de Galicia (07.12.25) · Hugo Álvarez Domínguez
Javier Agudo performed well as both the Shepherd and the Doctor.
Scherzo (07.12.25) · Luis Suñén
Mónica Redondo, returning to A Coruña, as Geneviève, and Javier Agudo as the Doctor, both delivered flawless performances.
Ópera Actual (07.12.25) · José Luís Jiménez
Consistent Javier Agudo.
El potosí submarino · Teatro de la Zarzuela (Madrid)
MasEscena (01.12.25) · Alberto Sanz Blanco
Alejandro del Cerro, in the role of Cardona, brings an agile tenor and a telenovela-heartthrob charisma that makes his transformation from betrayed lover to enthusiastic accomplice believable; his arietta “¡Ah! Ya estoy en tierra, soy feliz” is a display of lightness and mischievous charm.
Opera World (26.11.25) · Federico Figueroa
Alejandro del Cerro stands out with a magnetic portrayal of Cardona.
Ópera Actual (23.11.25) · Rocío Garcíalonso
The tenor Alejandro del Cerro (Cardona) was impeccable both vocally and visually, delivering one of the most magnetic moments of the second act, thanks to his bearing and the traje de luces.
Codalario (23.11.25) · Raúl Chamorro Mena
Alejandro del Cerro delivered well-shaped phrasing.
Platea Magazine (22.11.25) · Javier Pérez
The role of Cardona was sung by Alejandro del Cerro with accuracy and propriety.
La Razón (20.11.25) · Álvaro Guibert
Alejandro del Cerro’s Cardona stood out for both his voice and stage presence.
Alejandro del Cerro, in the role of Cardona, brings an agile tenor and a telenovela-heartthrob charisma that makes his transformation from betrayed lover to enthusiastic accomplice believable; his arietta “¡Ah! Ya estoy en tierra, soy feliz” is a display of lightness and mischievous charm.
Opera World (26.11.25) · Federico Figueroa
Alejandro del Cerro stands out with a magnetic portrayal of Cardona.
Ópera Actual (23.11.25) · Rocío Garcíalonso
The tenor Alejandro del Cerro (Cardona) was impeccable both vocally and visually, delivering one of the most magnetic moments of the second act, thanks to his bearing and the traje de luces.
Codalario (23.11.25) · Raúl Chamorro Mena
Alejandro del Cerro delivered well-shaped phrasing.
Platea Magazine (22.11.25) · Javier Pérez
The role of Cardona was sung by Alejandro del Cerro with accuracy and propriety.
La Razón (20.11.25) · Álvaro Guibert
Alejandro del Cerro’s Cardona stood out for both his voice and stage presence.
Orlando furioso · Teatro Campoamor (Oviedo)
Opera World (21.11.25) · Pablo Álvarez Siana
The third mention goes to Serena Pérez (Medoro). The Asturian singer delivered an elegant line and refined phrasing in a challenging tessitura; although the orchestra occasionally overshadowed her, her voice remained consistently rounded, gradually maturing through a constantly evolving performance.
Scherzo (17.11.25) · Miriam Perandones
The Asturian mezzo-soprano Serena Pérez gave a fine performance as Medoro, demonstrating an impressive upward trajectory as an artist.
Ópera Actual (17.11.25) · Jonathan Mallada
Serena Pérez as Medoro also performed at a very high level, displaying theatrical flair and executing the coloraturas with skill: the Asturian singer was one of the standout members of the cast.
El Comercio (15.11.25) · Ramón Avello
Excellent, too, the Gijón-born mezzo Serena Pérez in the role of Medoro, Angélica’s lover. Her aria in the second act was delightful, and the entire wedding scene was very well sung, marked by a compelling stage presence.
The third mention goes to Serena Pérez (Medoro). The Asturian singer delivered an elegant line and refined phrasing in a challenging tessitura; although the orchestra occasionally overshadowed her, her voice remained consistently rounded, gradually maturing through a constantly evolving performance.
Scherzo (17.11.25) · Miriam Perandones
The Asturian mezzo-soprano Serena Pérez gave a fine performance as Medoro, demonstrating an impressive upward trajectory as an artist.
Ópera Actual (17.11.25) · Jonathan Mallada
Serena Pérez as Medoro also performed at a very high level, displaying theatrical flair and executing the coloraturas with skill: the Asturian singer was one of the standout members of the cast.
El Comercio (15.11.25) · Ramón Avello
Excellent, too, the Gijón-born mezzo Serena Pérez in the role of Medoro, Angélica’s lover. Her aria in the second act was delightful, and the entire wedding scene was very well sung, marked by a compelling stage presence.
Werther · Afundación (Vigo)
Beckmesser (11.11.25) · Arturo Reverter
(...) the baritone Gerardo Bullón — assured, even-toned, musical, well-coloured, flexible and dignified — a model Albert.
Artezblai (10.11.25) · Afonso Becerra
Gerardo Bullón’s portrayal of Alberto was likewise superb and thoroughly accomplished, conveying satisfaction and joy, clouded only in those moments when the character becomes aware of the situation between his wife and Werther.
(...) the baritone Gerardo Bullón — assured, even-toned, musical, well-coloured, flexible and dignified — a model Albert.
Artezblai (10.11.25) · Afonso Becerra
Gerardo Bullón’s portrayal of Alberto was likewise superb and thoroughly accomplished, conveying satisfaction and joy, clouded only in those moments when the character becomes aware of the situation between his wife and Werther.
Yerma · Auditorio de Tenerife (Santa Cruz)
Bachtrack (24.10.25) · Ramón Pereira Blanco
Javier Castañeda stood out in the brief role of Víctor, with a powerful, well-toned voice.
Platea Magazine (16.10.25) · Alejandro Martínez
I was also very impressed by Javier Castañeda’s portrayal of Víctor, displaying a finely toned baritone voice and a noble, expressive vocal line.
From the extensive remaining cast, special mention should be made of the washerwomen and old women, with Belén Elvira’s fine performance standing out, as well as the promising qualities shown by Zayra Ruiz and Alexandra Urquiola in particular.
Ópera Actual (16.10.25) · Fernando Sans Rivière
Equally excellent was the elegant and musical Víctor of the Palencia-born bass-baritone Javier Castañeda.
Beckmesser (16.10.25) · Justo Romero
Also noteworthy was the third party in this emotional triangle, Víctor — the ‘baritone of the opera’, the man who, in childhood, ‘lifted me in his arms to cross the irrigation ditch’ — brought to life through the brave and clear singing of the Palencia-born baritone Javier Castañeda.
Within the extensive, varied and finely balanced cast, all the female performers stood out: from mezzo-soprano Anna Gomà in her prominent role as María, to the Canarian Belén Elvira, the Argentine Guadalupe Barrientos, the Mexican Zayra Ruiz, and the New York–based Cuban mezzo-soprano Alexandra Urquiola.
La Vanguardia (15.10.25) · Jordi Maddaleno
Baritone Javier Castañeda was mellow and controlled as Yerma’s friend and platonic love, his burnished timbre blending magnificently with Perles’s charismatic Yerma.
Javier Castañeda stood out in the brief role of Víctor, with a powerful, well-toned voice.
Platea Magazine (16.10.25) · Alejandro Martínez
I was also very impressed by Javier Castañeda’s portrayal of Víctor, displaying a finely toned baritone voice and a noble, expressive vocal line.
From the extensive remaining cast, special mention should be made of the washerwomen and old women, with Belén Elvira’s fine performance standing out, as well as the promising qualities shown by Zayra Ruiz and Alexandra Urquiola in particular.
Ópera Actual (16.10.25) · Fernando Sans Rivière
Equally excellent was the elegant and musical Víctor of the Palencia-born bass-baritone Javier Castañeda.
Beckmesser (16.10.25) · Justo Romero
Also noteworthy was the third party in this emotional triangle, Víctor — the ‘baritone of the opera’, the man who, in childhood, ‘lifted me in his arms to cross the irrigation ditch’ — brought to life through the brave and clear singing of the Palencia-born baritone Javier Castañeda.
Within the extensive, varied and finely balanced cast, all the female performers stood out: from mezzo-soprano Anna Gomà in her prominent role as María, to the Canarian Belén Elvira, the Argentine Guadalupe Barrientos, the Mexican Zayra Ruiz, and the New York–based Cuban mezzo-soprano Alexandra Urquiola.
La Vanguardia (15.10.25) · Jordi Maddaleno
Baritone Javier Castañeda was mellow and controlled as Yerma’s friend and platonic love, his burnished timbre blending magnificently with Perles’s charismatic Yerma.
Don Juan no existe · Festival de Ópera de Sevilla
Diario de Sevilla (08.10.25) · Andrés Moreno Mengíbar
Olivé’s powerful, well-projected voice provided an apt counterpoint (…).
ABC (08.10.25) · Carlos Tarín
We also heard Josep-Ramón Olivé (Don Juan / Agustín), whose robust voice and excellent diction stood out (even though the text was in Spanish — the projected surtitles still proved useful on more than one occasion). His tone was rounded and finely nuanced.
Olivé’s powerful, well-projected voice provided an apt counterpoint (…).
ABC (08.10.25) · Carlos Tarín
We also heard Josep-Ramón Olivé (Don Juan / Agustín), whose robust voice and excellent diction stood out (even though the text was in Spanish — the projected surtitles still proved useful on more than one occasion). His tone was rounded and finely nuanced.
El dúo de la Africana · Teatro Pérez Galdós (Las Palmas)
Ópera World (04.10.25) · Federico Figueroa
The duo formed by soprano Sofía Esparza and tenor Alejandro del Cerro — both vocally splendid — displayed boundless energy as La Antonelli and Giuseppini. Esparza enjoyed a particularly brilliant moment with her performance of Angelita’s waltz from the zarzuela Châteaux Margaux, her beautiful voice complemented by irresistible stage ease. Del Cerro, for his part, impressed with his strong comic flair and his suitability as a lyric tenor.
Ópera Actual (06.10.25) · Agustín Arocha
(...) Her chemistry with Alejandro del Cerro was immediate: the tenor approached the impetuous Giuseppini with commitment and courage, displaying a suggestive warmth in the middle register and a clear projection. Their rapport culminated in a vibrant rendition of ‘No cantes más, La Africana’, which proved to be the highlight of the evening — a duet of impeccable rhythm, fine comic timing, and musical precision.
The duo formed by soprano Sofía Esparza and tenor Alejandro del Cerro — both vocally splendid — displayed boundless energy as La Antonelli and Giuseppini. Esparza enjoyed a particularly brilliant moment with her performance of Angelita’s waltz from the zarzuela Châteaux Margaux, her beautiful voice complemented by irresistible stage ease. Del Cerro, for his part, impressed with his strong comic flair and his suitability as a lyric tenor.
Ópera Actual (06.10.25) · Agustín Arocha
(...) Her chemistry with Alejandro del Cerro was immediate: the tenor approached the impetuous Giuseppini with commitment and courage, displaying a suggestive warmth in the middle register and a clear projection. Their rapport culminated in a vibrant rendition of ‘No cantes más, La Africana’, which proved to be the highlight of the evening — a duet of impeccable rhythm, fine comic timing, and musical precision.
El vizconde / Gato por liebre · Fundación March (Madrid)
Scherzo (26.09.25) · Tomás Marco
Soprano Irene Palazón, mezzo-soprano Blanca Valido, tenor Juan Antonio Sanabria and baritone César San Martín all delivered finely crafted performances, each striking precisely the right balance — never overdone, yet never falling short.
Beckmesser (26.09.25) · Arturo Reverter
Blanca Valido (Serafín and Doña Elena) is a highly lyrical mezzo-soprano, with a well-rounded, silky and attractive timbre.
Bachtrack (26.09.25) · Aaron Vincent
Although mezzo-soprano Blanca Valido is not assigned any solo numbers, her rich, resonant voice blends beautifully in the duet she performs as Doña Elena with the Viscount
Ópera Actual (25.09.25) · José María Marco
In Gato por liebre, Barbieri and Antonio Hurtado staged a classic vaudevillian intrigue: two mature ladies competing for the same young suitor, plus a maid (once again the delightful and witty Irene Palazón) who mocks their make-up and beauty tricks and ultimately wins over the young man — portrayed, as in the other work’s ‘little cousin’, by the highly accomplished mezzo-soprano Blanca Valido.
Soprano Irene Palazón, mezzo-soprano Blanca Valido, tenor Juan Antonio Sanabria and baritone César San Martín all delivered finely crafted performances, each striking precisely the right balance — never overdone, yet never falling short.
Beckmesser (26.09.25) · Arturo Reverter
Blanca Valido (Serafín and Doña Elena) is a highly lyrical mezzo-soprano, with a well-rounded, silky and attractive timbre.
Bachtrack (26.09.25) · Aaron Vincent
Although mezzo-soprano Blanca Valido is not assigned any solo numbers, her rich, resonant voice blends beautifully in the duet she performs as Doña Elena with the Viscount
Ópera Actual (25.09.25) · José María Marco
In Gato por liebre, Barbieri and Antonio Hurtado staged a classic vaudevillian intrigue: two mature ladies competing for the same young suitor, plus a maid (once again the delightful and witty Irene Palazón) who mocks their make-up and beauty tricks and ultimately wins over the young man — portrayed, as in the other work’s ‘little cousin’, by the highly accomplished mezzo-soprano Blanca Valido.
Lo speziale · Fundación Antonio Gala (Córdoba)
Córdoba Noticias (16.09.25) · Vicente Borrego Castro
The mezzo-soprano Serena Pérez (Volpino) brought boldness, character, and a secure delivery that fitted perfectly with the comic nature of her breeches role. The tenor Alberto Ballesta (Sempronio) shaped with precision and wit the figure of the miserly apothecary, achieving a theatrical and vocal portrayal that was both convincing and warmly applauded.
The mezzo-soprano Serena Pérez (Volpino) brought boldness, character, and a secure delivery that fitted perfectly with the comic nature of her breeches role. The tenor Alberto Ballesta (Sempronio) shaped with precision and wit the figure of the miserly apothecary, achieving a theatrical and vocal portrayal that was both convincing and warmly applauded.
El orgullo de quererte · Teatros del Canal (Madrid)
Doble A (14.09.25) · Ana Borreguero
But what truly sustains the heart of El orgullo de quererte is its cast. In particular, the trio of the Maris (...). Mar Morán, with exquisite vocal expressiveness, elicits applause from the very first minutes."
But what truly sustains the heart of El orgullo de quererte is its cast. In particular, the trio of the Maris (...). Mar Morán, with exquisite vocal expressiveness, elicits applause from the very first minutes."
Der Schauspieldirektor / Prima la parola · Little Opera (Zamora)
Ritmo (02.08.25) · Eustaquio Iribarren
In Der Schauspieldirektor, the sopranos Mar Morán, triumphing with extraordinary control of coloratura and a voice replete with resources, and Anna Cabrera, as her rival for the impresario’s favour, elegant in her singing and untroubled in her delivery, took part."
Platea Magazine (30.07.25) · Enrique Bert
The two divas were Mar Morán, courageous and capable of producing a high F with clarity and notable volume, and Anna Cabrera, of beautiful, darker timbre, which provided an apt contrast to that of the former.
Beckmesser (30.07.25) · Arturo Reverter
The sopranos shone particularly brightly: Mar Morán (Mrs Herz in Mozart), who displayed her rich and ringing timbre together with her ease in coloratura, reaching, for instance, up to F5; and Anna Cabrera (Mrs Silberklang in Mozart and Tonina in Salieri), whose tone is more silken and whose phrasing is highly precise, equally comfortable in the upper register.
In Der Schauspieldirektor, the sopranos Mar Morán, triumphing with extraordinary control of coloratura and a voice replete with resources, and Anna Cabrera, as her rival for the impresario’s favour, elegant in her singing and untroubled in her delivery, took part."
Platea Magazine (30.07.25) · Enrique Bert
The two divas were Mar Morán, courageous and capable of producing a high F with clarity and notable volume, and Anna Cabrera, of beautiful, darker timbre, which provided an apt contrast to that of the former.
Beckmesser (30.07.25) · Arturo Reverter
The sopranos shone particularly brightly: Mar Morán (Mrs Herz in Mozart), who displayed her rich and ringing timbre together with her ease in coloratura, reaching, for instance, up to F5; and Anna Cabrera (Mrs Silberklang in Mozart and Tonina in Salieri), whose tone is more silken and whose phrasing is highly precise, equally comfortable in the upper register.
Hildegart · Festival Little Opera (Zamora)
Platea Magazine (30.07.25) · Enrique Bert
Javier Franco is a prosecutor firmly bound to legal interpretation, authoritarian in manner, shutting the door on any medico-social justification; his resonant voice enables him to construct a convincing and coherent character.
Javier Franco is a prosecutor firmly bound to legal interpretation, authoritarian in manner, shutting the door on any medico-social justification; his resonant voice enables him to construct a convincing and coherent character.
Benjamin a Portbou · Gran Teatre del Liceu (Barcelona)
Ópera Actual (20.07.25) · Fernando Sans Rivière
Also notable was the brief character of Stefan, the composer's son, portrayed by the versatile Ruth González.
Also notable was the brief character of Stefan, the composer's son, portrayed by the versatile Ruth González.
Tristana · Auditorio de El Escorial (Madrid)
Ópera Actual (11.07.25) · Mario Muñoz
Vocally, much of the burden fell on Ruth González, the soprano who also serves as the artistic director of the Festival (alongside Ricardo Campelo), and to whom we owe our gratitude for her artistic drive. Just a week prior, she had performed as Abel in La tabernera del puerto at the Teatro de La Zarzuela. Her versatility in both singing and acting made the protagonist's inner turmoil believable, as she transitions from singing La Traviata to losing her livelihood forever. It is a character of musical contrasts, one who must be sensual, innocent, strong, and confused all at once, and González adapted her voice to the timbre proposed by Huertas-Camacho with naturalness and good taste.
Beckmesser (30.06.25) · Arturo Reverter
The light-lyric soprano Ruth González, who also served as the producer, displayed confidence, professional poise, and skill in navigating some demanding passages (including an excerpt from Sempre libera from La traviata) (...).
Vocally, much of the burden fell on Ruth González, the soprano who also serves as the artistic director of the Festival (alongside Ricardo Campelo), and to whom we owe our gratitude for her artistic drive. Just a week prior, she had performed as Abel in La tabernera del puerto at the Teatro de La Zarzuela. Her versatility in both singing and acting made the protagonist's inner turmoil believable, as she transitions from singing La Traviata to losing her livelihood forever. It is a character of musical contrasts, one who must be sensual, innocent, strong, and confused all at once, and González adapted her voice to the timbre proposed by Huertas-Camacho with naturalness and good taste.
Beckmesser (30.06.25) · Arturo Reverter
The light-lyric soprano Ruth González, who also served as the producer, displayed confidence, professional poise, and skill in navigating some demanding passages (including an excerpt from Sempre libera from La traviata) (...).