Caldara's Il Cristo condannato · Festival Peralada - Pasqua
Platea Magazine (06.04.26) · Antoni Colomer
The most demanding part (Capo Popolo) was taken on by the baritone Josep-Ramon Olivé in a vocally fiendish role, both in terms of coloratura and range, from which he emerged more than successfully.
Scherzo (05.04.26) · Josep Subirá
The Catalan baritone Josep-Ramon Olivé, as the leader of the mob, took on a role written for the tenor Francesco Borosini—the first Bajazet in Handel’s Tamerlano—with a range more typical of a baritenor than of a lyric baritone such as himself. Nevertheless, the agility and fury of this fanatical role, along with its aggressive pressure on the wavering Pilate, sat well within Olivé’s extension. In one of his Act II arias, he produced two high notes in falsetto, quite well integrated with the rest of the upper register. Olivé impressed on several occasions with a notable display of breath control (fiato) in extended passages, offering a glimpse of the vocal prowess of the aforementioned Borosini.
La Vanguardia (03.04.26) · Jordi Maddaleno
The other vocally most complex role was that of the Capo Popolo, performed by the baritone Josep-Ramon Olivé. He negotiated a fiendishly difficult part with rigor and flexibility, at the limits of a baritenor tessitura originally conceived for a vocal phenomenon of the time such as the tenor Francesco Borosini.
El Periódico (03.04.26) · Aniol Costa-Pau
The fifth soloist is a leader of the people, an exacting role that Josep-Ramon Olivé sustained with authority.
Ópera Actual (03.04.26) · Aniol Costa-Pau
The baritone Josep-Ramon Olivé brought drive and definition to the role of Capo Popolo, the embodiment of the collective will that propels the drama toward its conclusion. His particularly demanding intervention—featuring passages of devilish speed and an exceptionally wide range—stood out for its intensity and versatility at the stand.
The most demanding part (Capo Popolo) was taken on by the baritone Josep-Ramon Olivé in a vocally fiendish role, both in terms of coloratura and range, from which he emerged more than successfully.
Scherzo (05.04.26) · Josep Subirá
The Catalan baritone Josep-Ramon Olivé, as the leader of the mob, took on a role written for the tenor Francesco Borosini—the first Bajazet in Handel’s Tamerlano—with a range more typical of a baritenor than of a lyric baritone such as himself. Nevertheless, the agility and fury of this fanatical role, along with its aggressive pressure on the wavering Pilate, sat well within Olivé’s extension. In one of his Act II arias, he produced two high notes in falsetto, quite well integrated with the rest of the upper register. Olivé impressed on several occasions with a notable display of breath control (fiato) in extended passages, offering a glimpse of the vocal prowess of the aforementioned Borosini.
La Vanguardia (03.04.26) · Jordi Maddaleno
The other vocally most complex role was that of the Capo Popolo, performed by the baritone Josep-Ramon Olivé. He negotiated a fiendishly difficult part with rigor and flexibility, at the limits of a baritenor tessitura originally conceived for a vocal phenomenon of the time such as the tenor Francesco Borosini.
El Periódico (03.04.26) · Aniol Costa-Pau
The fifth soloist is a leader of the people, an exacting role that Josep-Ramon Olivé sustained with authority.
Ópera Actual (03.04.26) · Aniol Costa-Pau
The baritone Josep-Ramon Olivé brought drive and definition to the role of Capo Popolo, the embodiment of the collective will that propels the drama toward its conclusion. His particularly demanding intervention—featuring passages of devilish speed and an exceptionally wide range—stood out for its intensity and versatility at the stand.
Haydn's Nelson Mass · Auditorio Príncipe Felipe (Oviedo)
La Nueva España (29.03.26) · Jonathan Mallada Álvarez
The finest solo performance of the evening came from Marta Infante, who rounded out her powerful voice while bringing notable musicality to every bar, with a well-judged vocal line and the requisite volume at all times.
The finest solo performance of the evening came from Marta Infante, who rounded out her powerful voice while bringing notable musicality to every bar, with a well-judged vocal line and the requisite volume at all times.
Jugar con fuego · Teatro de la Zarzuela (Madrid)
Opera World (06.04.26) · Majo Pérez
The bass Javier Castañeda acquitted himself solidly as the Duchess’s father, although a more strongly defined physical characterization might have lent greater credibility to the role, visually offsetting his youth. A similar level of consistency and quality was evident among the supporting cast. Emmanuel Faraldo—whose Argentine accent added an interesting layer of authenticity to the plot—and Javier Povedano fulfilled their vocal and dramatic duties effectively.
Opera World (01.04.26) · Federico Figueroa
Javier Castañeda (the Duke) lends solidity to the ensemble.
Both the tenor Emmanuel Faraldo (Antonio) and the baritone Javier Povedano (a madman) move with complete ease in their respective roles.
Opera World (29.03.26) · José Antonio Lacárcel
The tenor Alejandro del Cerro brought the endearing character of Félix to life. He possesses a light lyric tenor, with notable ease in the upper register, producing high notes that are bright and never forced. He sings with taste and acted well within the constraints imposed by the production’s new conception of the character. Secure in intonation, he performed with refinement and musical sensitivity.
Platea Magazine (29.03.26) · Javier Pérez
Alejandro del Cerro, for his part, once again confirmed himself as a reliable asset in the role of Félix, with a firm, well-projected voice and a convincingly committed stage presence.
(Javier Castañeda) proved vocally solid and resonant, rounding off a highly commendable performance.
Emmanuel Faraldo was charming and fully effective as Antonio.
Bachtrack (29.03.26) · Aaron Vincent
Alejandro del Cerro won over the audience with his portrayal of the lovestruck Félix, clad in a ridiculous mascot costume that underscored the precariousness of his situation and which he exploited effectively with admirable comic timing. Slightly throaty in production but with secure emission and solid projection, he sang with considerable taste; his romanza “La vi por vez primera” was delivered with pronounced lyricism.
Scherzo (28.03.26) · Manuel García Franco
Alejandro del Cerro, a tenor with a well-supported middle register and an evenly blended timbre, took command of the role of the young and absent-minded Félix, proving particularly successful in his Act I romanza, shaped with an elegant vocal line.
ABC (26.03.26) · Julio Bravo
(...) Alejandro del Cerro sang with technical assurance and tonal quality.
Ópera Actual (26.03.26) · José María Marco
Alejandro del Cerro assumed the role of the young, impetuous Félix, a bel canto part particularly well suited to his instrument: a tenor with a well-set, firmly supported middle register and an evenly blended timbre across the range, developed through a lyric, expansive line and a natural command of ornamentation. His “La vi por vez primera” was beautifully shaped, with refined legato, clean emission, and stylistic poise—delivered, as in Iniesta’s case, with both seriousness and genuine emotional engagement.
The bass Javier Castañeda acquitted himself solidly as the Duchess’s father, although a more strongly defined physical characterization might have lent greater credibility to the role, visually offsetting his youth. A similar level of consistency and quality was evident among the supporting cast. Emmanuel Faraldo—whose Argentine accent added an interesting layer of authenticity to the plot—and Javier Povedano fulfilled their vocal and dramatic duties effectively.
Opera World (01.04.26) · Federico Figueroa
Javier Castañeda (the Duke) lends solidity to the ensemble.
Both the tenor Emmanuel Faraldo (Antonio) and the baritone Javier Povedano (a madman) move with complete ease in their respective roles.
Opera World (29.03.26) · José Antonio Lacárcel
The tenor Alejandro del Cerro brought the endearing character of Félix to life. He possesses a light lyric tenor, with notable ease in the upper register, producing high notes that are bright and never forced. He sings with taste and acted well within the constraints imposed by the production’s new conception of the character. Secure in intonation, he performed with refinement and musical sensitivity.
Platea Magazine (29.03.26) · Javier Pérez
Alejandro del Cerro, for his part, once again confirmed himself as a reliable asset in the role of Félix, with a firm, well-projected voice and a convincingly committed stage presence.
(Javier Castañeda) proved vocally solid and resonant, rounding off a highly commendable performance.
Emmanuel Faraldo was charming and fully effective as Antonio.
Bachtrack (29.03.26) · Aaron Vincent
Alejandro del Cerro won over the audience with his portrayal of the lovestruck Félix, clad in a ridiculous mascot costume that underscored the precariousness of his situation and which he exploited effectively with admirable comic timing. Slightly throaty in production but with secure emission and solid projection, he sang with considerable taste; his romanza “La vi por vez primera” was delivered with pronounced lyricism.
Scherzo (28.03.26) · Manuel García Franco
Alejandro del Cerro, a tenor with a well-supported middle register and an evenly blended timbre, took command of the role of the young and absent-minded Félix, proving particularly successful in his Act I romanza, shaped with an elegant vocal line.
ABC (26.03.26) · Julio Bravo
(...) Alejandro del Cerro sang with technical assurance and tonal quality.
Ópera Actual (26.03.26) · José María Marco
Alejandro del Cerro assumed the role of the young, impetuous Félix, a bel canto part particularly well suited to his instrument: a tenor with a well-set, firmly supported middle register and an evenly blended timbre across the range, developed through a lyric, expansive line and a natural command of ornamentation. His “La vi por vez primera” was beautifully shaped, with refined legato, clean emission, and stylistic poise—delivered, as in Iniesta’s case, with both seriousness and genuine emotional engagement.
El gitano por amor · Teatro Campoamor (Oviedo)
Ópera Actual (23.03.26) · Antonio Hedrera
Pablo López portrayed a resolute Corregidor.
Platea Magazine (22.03.26) · Enrique Bert
Pablo López brought depth and substance to the role of the corregidor in the final scene, when he discovers he has two children in the span of barely two minutes.
Pablo López portrayed a resolute Corregidor.
Platea Magazine (22.03.26) · Enrique Bert
Pablo López brought depth and substance to the role of the corregidor in the final scene, when he discovers he has two children in the span of barely two minutes.
Macbeth · Gran Teatro de Córdoba
Ópera Actual (16.03.26) · Alejandro Fernández
Javier Franco and Carmen Solís did not disappoint in their respective role debuts, which promise assurance and confidence in future performances. They succeeded in conveying the darkness and psychological complexity of their characters; the Galician baritone grew steadily from the outset, further strengthening the soprano’s dramatic performance.
El Día de Córdoba (14.03.26) · Antonio Torralba
The baritone Javier Franco delivered a compelling Macbeth, moving between doubt, remorse, and ambition, ultimately culminating in the tyrant’s moral decay. (...) Franco, like Solís, was outstanding in his dramatic performance, but he shone above all in his precise vocal portrayal of the terrifying shadows of evil and decay—the very element that underpins the dramaturgy of opera.
Javier Franco and Carmen Solís did not disappoint in their respective role debuts, which promise assurance and confidence in future performances. They succeeded in conveying the darkness and psychological complexity of their characters; the Galician baritone grew steadily from the outset, further strengthening the soprano’s dramatic performance.
El Día de Córdoba (14.03.26) · Antonio Torralba
The baritone Javier Franco delivered a compelling Macbeth, moving between doubt, remorse, and ambition, ultimately culminating in the tyrant’s moral decay. (...) Franco, like Solís, was outstanding in his dramatic performance, but he shone above all in his precise vocal portrayal of the terrifying shadows of evil and decay—the very element that underpins the dramaturgy of opera.
I masnadieri · Teatro Real (Madrid)
Opera World (16.02.26) · Daniel Lara
The Spanish tenor Alejandro del Cerro delineated the thankless role of the chamberlain Arminio with solid vocal resources.
El Debate (12.02.26) · César Wonenburger
Alejandro del Cerro proved a luxury in the relatively unsubstantial yet effective role of Arminio.
Platea Magazine (11.02.26) · Javier Pérez
Impeccable and highly appropriate was Alejandro del Cerro in the role of Arminio.
Ópera Actual (11.02.26) · José María Marco
The tenor Alejandro del Cerro performed very well in the thankless role of Arminio, a character of considerable importance within the action.
Codalario (11.02.26) · Raúl Chamorro Mena
Among the supporting roles, special mention should be made of the vocal poise and reliability of Alejandro del Cerro as Arminio.
Beckmesser (11.02.26) · Gonzalo Alonso
Those in roles that can hardly be described as merely secondary acquitted themselves very well, including Alejandro del Cerro.
The Spanish tenor Alejandro del Cerro delineated the thankless role of the chamberlain Arminio with solid vocal resources.
El Debate (12.02.26) · César Wonenburger
Alejandro del Cerro proved a luxury in the relatively unsubstantial yet effective role of Arminio.
Platea Magazine (11.02.26) · Javier Pérez
Impeccable and highly appropriate was Alejandro del Cerro in the role of Arminio.
Ópera Actual (11.02.26) · José María Marco
The tenor Alejandro del Cerro performed very well in the thankless role of Arminio, a character of considerable importance within the action.
Codalario (11.02.26) · Raúl Chamorro Mena
Among the supporting roles, special mention should be made of the vocal poise and reliability of Alejandro del Cerro as Arminio.
Beckmesser (11.02.26) · Gonzalo Alonso
Those in roles that can hardly be described as merely secondary acquitted themselves very well, including Alejandro del Cerro.
Don Pasquale · Teatro Isabel la Católica (Granada)
Granada Hoy (10.02.26) · Gonzalo Roldán Herencia
Special mention should also be made of the commendable work of Pedro Bartolomé at the helm of the Orquesta Filarmonía Granada, who offered a reading that was agile and stylistically well focused, attentive to the singers and keenly aware of the importance of phrasing and rhythmic flexibility in Gaetano Donizetti. The tempi were, in general, well judged, allowing the ensembles to breathe and the recitatives to maintain their dramatic fluidity. The orchestra responded with assurance, particularly notable for the lightness of the woodwinds and the precise accompaniment in the ensemble numbers, never once eclipsing the voices.
Special mention should also be made of the commendable work of Pedro Bartolomé at the helm of the Orquesta Filarmonía Granada, who offered a reading that was agile and stylistically well focused, attentive to the singers and keenly aware of the importance of phrasing and rhythmic flexibility in Gaetano Donizetti. The tempi were, in general, well judged, allowing the ensembles to breathe and the recitatives to maintain their dramatic fluidity. The orchestra responded with assurance, particularly notable for the lightness of the woodwinds and the precise accompaniment in the ensemble numbers, never once eclipsing the voices.
Carmen · Teatro Campoamor (Oviedo)
Scherzo (02.02.26) · Miriam Perandones
Javier Rovedano and Josep Fadó also acquitted themselves more than satisfactorily in their respective roles.
Platea Magazine (02.02.26) · Enrique Bert
The veteran Josep Fadó delivered a well-judged portrayal of Remendado.
Javier Rovedano and Josep Fadó also acquitted themselves more than satisfactorily in their respective roles.
Platea Magazine (02.02.26) · Enrique Bert
The veteran Josep Fadó delivered a well-judged portrayal of Remendado.
Haynd's Nelson Mass · Teatro Monumental (Madrid)
Ritmo (02.02.26) · Daniel De la Puente
The solo quartet performed with solidity, with the soprano Anna Cabrera standing out, as her part carries greater prominence in the score than those of her fellow soloists. Although she had to navigate the extremely rapid tempos of her passages in the Kyrie, she did so with skill and without losing composure. In her interventions, she paid particular attention to the entrances, which were perfectly in tune and delicately beautiful. Moreover, her voice does not lose an ounce of power in its lower register, complemented by a flawless blend with the other soloists (Alejandro del Cerro), who were impeccable in all their contributions.
The solo quartet performed with solidity, with the soprano Anna Cabrera standing out, as her part carries greater prominence in the score than those of her fellow soloists. Although she had to navigate the extremely rapid tempos of her passages in the Kyrie, she did so with skill and without losing composure. In her interventions, she paid particular attention to the entrances, which were perfectly in tune and delicately beautiful. Moreover, her voice does not lose an ounce of power in its lower register, complemented by a flawless blend with the other soloists (Alejandro del Cerro), who were impeccable in all their contributions.
Ariane et Barbe-Bleue · Teatro Real (Madrid)
Voz Pópuli (20.02.26) · Ana García Urcola
Also outstanding was the Argentine lyric soprano Jaquelina Livieri as Ygraine, displaying a remarkably even register and excellent projection.
Madrid Actual (12.02.26) · Preslava Boneva
Particularly noteworthy was Jaquelina Livieri in the role of Ygraine. The soprano, endowed with a luminous timbre and a natural vibrato, brought a distinctive sonic presence that enriched the ensemble. With a well-supported emission and an elegant cantabile line, she delivered finely tuned and musically refined interventions that enhanced the overall texture.
Platea Magazine (01.02.26) · Enrique Bert
Jaquelina Livieri (Ygraine), María Miró (Mélisande), and Renée Rapier (Bellangère) delivered highly accomplished performances.
Opera World (30.01.26) · María Pardo
The other four were meticulously crafted on a physical, expressive, musical, and vocal level. The dark, rich vocal color of all of them is striking; even the sopranos are hardly distinguishable in timbre from the mezzo-sopranos. The cast consists of: Sélysette, performed by the French mezzo-soprano Aude Extrémo; Ygraine, by the Argentine soprano Jaquelina Livieri; Mélisande, by the Spanish soprano María Miró; and Bellangère, by the American mezzo-soprano Renée Rapier.
Beckmesser (28.01.26) · Arturo Reverter
The other four women were up to the task: Aude Extremo, also a mezzo-soprano (Sélysette); Jaqueline Livieri, an agile soprano (Ygraine); María Miró, a lyric soprano (Mélisande); and Raquel Villarejo Hervás, actress and dancer (Alladine).
Also outstanding was the Argentine lyric soprano Jaquelina Livieri as Ygraine, displaying a remarkably even register and excellent projection.
Madrid Actual (12.02.26) · Preslava Boneva
Particularly noteworthy was Jaquelina Livieri in the role of Ygraine. The soprano, endowed with a luminous timbre and a natural vibrato, brought a distinctive sonic presence that enriched the ensemble. With a well-supported emission and an elegant cantabile line, she delivered finely tuned and musically refined interventions that enhanced the overall texture.
Platea Magazine (01.02.26) · Enrique Bert
Jaquelina Livieri (Ygraine), María Miró (Mélisande), and Renée Rapier (Bellangère) delivered highly accomplished performances.
Opera World (30.01.26) · María Pardo
The other four were meticulously crafted on a physical, expressive, musical, and vocal level. The dark, rich vocal color of all of them is striking; even the sopranos are hardly distinguishable in timbre from the mezzo-sopranos. The cast consists of: Sélysette, performed by the French mezzo-soprano Aude Extrémo; Ygraine, by the Argentine soprano Jaquelina Livieri; Mélisande, by the Spanish soprano María Miró; and Bellangère, by the American mezzo-soprano Renée Rapier.
Beckmesser (28.01.26) · Arturo Reverter
The other four women were up to the task: Aude Extremo, also a mezzo-soprano (Sélysette); Jaqueline Livieri, an agile soprano (Ygraine); María Miró, a lyric soprano (Mélisande); and Raquel Villarejo Hervás, actress and dancer (Alladine).
La edad de plata · Teatro de la Zarzuela (Madrid)
Ópera Actual (06.02.26) · Arturo Reverter
For his part, Gerardo Bullón, a noble, well-rounded, and finely timbred baritone, delivered a Don Quixote of measured presence.
Codalario (03.02.26) · Raúl Chamorro Mena
Gerardo Bullón’s Quixote was entirely fitting, and he also embodied Falla within the drama, thanks to the nobility of his timbre and his ease on stage.
Opera World (01.02.26) · Federico Figueroa
In El retablo de Maese Pedro, Gerardo Bullón created an expressive portrayal of Don Quixote.
Bachtrack (31.01.26) · Aaron Vincent
Gerardo Bullón, in Falla’s costume, delivered his lines clearly and embodied a Don Quixote who was vocally and dramatically robust.
Scherzo (27.01.26) · Manuel García Franco
The leading roles in El retablo were taken by a splendid Gerardo Bullón (baritone), as Don Quixote (...).
Platea Magazine (25.01.26) · Víctor Mourelle
In El retablo de Maese Pedro, Gerardo Bullón crafted a Don Quixote of remarkable expressive coherence, fully aware of the fragile balance between epic, irony, and humanity that defines the character. His voice, especially appealing and elegant in phrasing, naturally supported the musical line, leaving the impression—perhaps the hope—of hearing him in other, more substantial roles within the repertoire.
For his part, Gerardo Bullón, a noble, well-rounded, and finely timbred baritone, delivered a Don Quixote of measured presence.
Codalario (03.02.26) · Raúl Chamorro Mena
Gerardo Bullón’s Quixote was entirely fitting, and he also embodied Falla within the drama, thanks to the nobility of his timbre and his ease on stage.
Opera World (01.02.26) · Federico Figueroa
In El retablo de Maese Pedro, Gerardo Bullón created an expressive portrayal of Don Quixote.
Bachtrack (31.01.26) · Aaron Vincent
Gerardo Bullón, in Falla’s costume, delivered his lines clearly and embodied a Don Quixote who was vocally and dramatically robust.
Scherzo (27.01.26) · Manuel García Franco
The leading roles in El retablo were taken by a splendid Gerardo Bullón (baritone), as Don Quixote (...).
Platea Magazine (25.01.26) · Víctor Mourelle
In El retablo de Maese Pedro, Gerardo Bullón crafted a Don Quixote of remarkable expressive coherence, fully aware of the fragile balance between epic, irony, and humanity that defines the character. His voice, especially appealing and elegant in phrasing, naturally supported the musical line, leaving the impression—perhaps the hope—of hearing him in other, more substantial roles within the repertoire.
Margot · Gran Teatro de Córdoba
Mundo Clásico (30.01.26) · José Amador Morales
Javier Franco was a sure asset in successfully completing the leading triangle, thanks to the Galician baritone’s unquestionable commitment and remarkable musicality.
1/2 Tono (27.01.26) · Alejandro Fernández
Javier Franco, as José Manuel, was able to portray a character torn between heart and duty. He displayed generous vocal projection and showed particular attention to the psychology of the role, translating this care into remarkable clarity across all registers.
Scherzo (26.01.26) · C. Crespo García
The dark and dense timbres of Berna Perles and Javier Franco, as Margot and José Manuel respectively, contributed to a convincing blend as the leading couple, whom they succeeded in endowing with real substance and emotion.
Beckmesser (25.01.26) · Andrés Moreno Mengíbar
Javier Franco stood at the center of the love triangle, torn between the Parisian Margot and the Sevillian Amparo. His voice is powerful, resonant, and richly timbred, with effortless projection and clear diction. Moreover, his phrasing is consistently charged with expressiveness and dramatic intensity.
Javier Franco was a sure asset in successfully completing the leading triangle, thanks to the Galician baritone’s unquestionable commitment and remarkable musicality.
1/2 Tono (27.01.26) · Alejandro Fernández
Javier Franco, as José Manuel, was able to portray a character torn between heart and duty. He displayed generous vocal projection and showed particular attention to the psychology of the role, translating this care into remarkable clarity across all registers.
Scherzo (26.01.26) · C. Crespo García
The dark and dense timbres of Berna Perles and Javier Franco, as Margot and José Manuel respectively, contributed to a convincing blend as the leading couple, whom they succeeded in endowing with real substance and emotion.
Beckmesser (25.01.26) · Andrés Moreno Mengíbar
Javier Franco stood at the center of the love triangle, torn between the Parisian Margot and the Sevillian Amparo. His voice is powerful, resonant, and richly timbred, with effortless projection and clear diction. Moreover, his phrasing is consistently charged with expressiveness and dramatic intensity.