Siberia · Teatro Real (Madrid)
Radio Clásica Argentina (10.05.22) · Gonzalo Alonso
Alejandro del Cerro excelled in his brief intervention in the first act.
Ópera Actual (09.05.22) · Rocío Garcialonso
Alejandro del Cerro achieved as Prince Alexis, with a beautiful timbre and correct stage presence.
Codalario (09.05.22) · Raúl Chamorro Mena
Among the secondary players, Alejandro del Cerro's professionalism and vehemence should be mentioned.
Ópera World (08.05.22) · María Pardo
(...) Alejandro del Cerro, who gave a superb Prince Alexis. His beautiful voice, with a clean, honest sound and a mezzavoce that projected amazingly, won over the audience.
Beckmesser (08.05.22) · José M. Irurzun
Tenor Alejandro del Cerro brought Prince Alexis to life in the first act and the impression was positive.
Alejandro del Cerro excelled in his brief intervention in the first act.
Ópera Actual (09.05.22) · Rocío Garcialonso
Alejandro del Cerro achieved as Prince Alexis, with a beautiful timbre and correct stage presence.
Codalario (09.05.22) · Raúl Chamorro Mena
Among the secondary players, Alejandro del Cerro's professionalism and vehemence should be mentioned.
Ópera World (08.05.22) · María Pardo
(...) Alejandro del Cerro, who gave a superb Prince Alexis. His beautiful voice, with a clean, honest sound and a mezzavoce that projected amazingly, won over the audience.
Beckmesser (08.05.22) · José M. Irurzun
Tenor Alejandro del Cerro brought Prince Alexis to life in the first act and the impression was positive.
Luisa Fernanda · Palacio de Festivales de Cantabria (Santander)
Scherzo (02.05.22) · Asier Vallejo Ugarte
Maite Alberola was the mainstay of the plot with a Luisa Fernanda drawn with admirable restraint, ample phrasing and a centre as enamelled as it was flowing.
Platea Magazine (01.05.22) · Enrique Bert
(...) Maite Alberola, with a wide and very well projected voice, sang the role of Luisa Fernanda, a breakable Luisa Fernanda, who conveyed everything except weakness.
Maite Alberola was the mainstay of the plot with a Luisa Fernanda drawn with admirable restraint, ample phrasing and a centre as enamelled as it was flowing.
Platea Magazine (01.05.22) · Enrique Bert
(...) Maite Alberola, with a wide and very well projected voice, sang the role of Luisa Fernanda, a breakable Luisa Fernanda, who conveyed everything except weakness.
Requiem by Verdi · Teatro Cervantes (Malaga)
Codalario (16.04.22) · José Antonio Cantón
Javier Castañeda's first performance, Mors stupebit, revealed the quality of this bass-baritone from Palencia, giving the impression that he was playing at a level of canorial mastery of high naturalness of emission and perfect vocalisation, by raising that substantial capacity necessary in the transmission of the feeling that this passage requires.
Ritmo (13.04.22) · Verónica García Prior
The choice of a quartet of purely Verdian voices, i.e. with the vocal qualities that define Verdian operatic roles: body, roundness, a lot of harmonics.... (...) Each of these voices was unique and exceptional.
La opinión de Málaga (10.04.22) · Alejandro Fernández
(...) Nor were the interesting register of Joel Montero or the rotundity of the lower register defended by Castañeda left behind. (...) The brilliant role played by Javier Castañeda opens the door of the Malaga coliseum to the more than justified future collaborations of the baritone from Extremadura.
Javier Castañeda's first performance, Mors stupebit, revealed the quality of this bass-baritone from Palencia, giving the impression that he was playing at a level of canorial mastery of high naturalness of emission and perfect vocalisation, by raising that substantial capacity necessary in the transmission of the feeling that this passage requires.
Ritmo (13.04.22) · Verónica García Prior
The choice of a quartet of purely Verdian voices, i.e. with the vocal qualities that define Verdian operatic roles: body, roundness, a lot of harmonics.... (...) Each of these voices was unique and exceptional.
La opinión de Málaga (10.04.22) · Alejandro Fernández
(...) Nor were the interesting register of Joel Montero or the rotundity of the lower register defended by Castañeda left behind. (...) The brilliant role played by Javier Castañeda opens the door of the Malaga coliseum to the more than justified future collaborations of the baritone from Extremadura.
Pelléas et Mélisande · Teatro de la Maestranza (Seville)
ABC (27.03.22) · Alberto González Lapuente
(...) and bass-baritone Javier Castañeda in the dual role of doctor and shepherd complete the cast. The more secondary nature of their roles does not exempt their performances from maintaining a remarkable level.
Diario de Sevilla (23.03.22) · Andrés Moreno Mengíbar
Very good Castañeda.
(...) and bass-baritone Javier Castañeda in the dual role of doctor and shepherd complete the cast. The more secondary nature of their roles does not exempt their performances from maintaining a remarkable level.
Diario de Sevilla (23.03.22) · Andrés Moreno Mengíbar
Very good Castañeda.
The fiery angel · Teatro Real (Madrid)
Platea Magazine (28.03.22) · Alejandro Martínez
The effort to incorporate Spanish voices of proven efficacy in comprimario roles, from (...) to the resounding voices of Gerardo Bullón and David Lagares, is praiseworthy.
Ópera World (27.03.22) · María Pardo
I must highlight (...) the astonishing vocal and musical quality of the Madrid baritone Gerardo Bullón as Mathias and the innkeeper.
Codalario (24.03.22) · Raúl Chamorro Mena
A good performance by the Spanish singers, starting with the Madrid baritone Gerardo Bullón, who sang with a strong, noble timbre and good flow.
Scherzo (23.03.22) · Rafael Ortega Basagolti
Irreproachable performances by Surguladze, Fadò, Bullón, Lagares, Martyn and Gomà.
Beckmesser (23.03.22) · Arturo Reverter
And at the required level Gerardo Bullón, always in parts below his level as a baritone, was Mathias and innkeeper.
The effort to incorporate Spanish voices of proven efficacy in comprimario roles, from (...) to the resounding voices of Gerardo Bullón and David Lagares, is praiseworthy.
Ópera World (27.03.22) · María Pardo
I must highlight (...) the astonishing vocal and musical quality of the Madrid baritone Gerardo Bullón as Mathias and the innkeeper.
Codalario (24.03.22) · Raúl Chamorro Mena
A good performance by the Spanish singers, starting with the Madrid baritone Gerardo Bullón, who sang with a strong, noble timbre and good flow.
Scherzo (23.03.22) · Rafael Ortega Basagolti
Irreproachable performances by Surguladze, Fadò, Bullón, Lagares, Martyn and Gomà.
Beckmesser (23.03.22) · Arturo Reverter
And at the required level Gerardo Bullón, always in parts below his level as a baritone, was Mathias and innkeeper.
Amadigi di Gaula · L'Auditori (Barcelona) & Auditorio Nacional de Música (Madrid)
Codalario (16.03.22) · Mario Guada
(...) The lesson offered by the group led by Dani Espasa from the harpsichord was of the highest order, signing one of the most impressive "Handelian" operatic evenings in memory, at the level of the best European groups that have visited in recent years and, why not say it, surpassing in level several of them -with more renown, it should be noted-.
(...)
A magnificent "Handelian" evening, a superlative surprise starring this Vespres d'Arnadí which is to be congratulated unequivocally, for being capable of giving one of the best operatic performances of the German-British composer of all those the CNDM has already given, given that there are not a few, nor lesser, ensembles it has surpassed in these matters. A spike in Flanders that hopefully helps to put into perspective what the Spanish ensembles of historical music can mean for the European repertoires, more or less important. May it be so...
Ópera World (13.03.22) · Carlos Orejas
Espasa, together with his group, showed himself throughout the evening to be a solvent harpsichordist and an attentive conductor. A versatile musician, he demonstrated a high level of harpsichord playing and great maturity as a conductor in his interpretative choices. His ensemble did not lag behind him and was of the same high standard as any other major European group, both in the accompaniment of the singers and in the ritornellos and symphonies that punctuate the operatic action.
Scherzo (07.03.22) · Javier Sarría Pueyo
The orchestra was lavish in all respects, colour, attack, filling, intonation, drive, vitality, nuance... a living organism in all its splendour. The perfect balance between treble and bass, with two double basses providing the necessary density and forcefulness in the lower tessitura, something that others often neglect, was to be welcomed. The individuality of Rafael Bonavita - what a luxury to have a lutenist of his stature in the continuo - was equally brilliant, with a lovely improvisatory introduction to the first scene of the second act, or Dani Espasa himself, who did beautifully in the recitative prior to Pena tiranna. The recorders in Sussurrate, onde vezzose were beautiful, the woodwinds in their trio in Crudel, tu non farai were stupendous. And absolutely spectacular trumpet - with the usual holes, of course - in his three interventions, in particular the arias Sento la gioia and, above all, Desterò dall'empia Dite; keep the name of the craftsman: Bruno Fernandes.
Ópera Actual (05.03.22) · Antoni Colomer
A variety of moods and colours that was perfectly reflected in the version offered by the baroque orchestra Vespres d'Arnadí led by Dani Espasa, with a trajectory in constant ascent that consolidates in each of its appearances not only as one of the best specialised ensembles in the country, but also capable of playing in the league of the most outstanding specialised ensembles at international level. All of this is thanks to the talent and hard work of Espasa, who has led the group to reach high levels of quality and who shows himself to be a more solid and creative director every day.
Proof of this was an instrumentally impeccable and lively version, in which the ensemble's beautiful and well-mixed sound at all times stood out, as well as its flexibility in articulation and breadth in the palette of colours. A triumph in every sense of the word and a new leap in quality (...).
(...) The lesson offered by the group led by Dani Espasa from the harpsichord was of the highest order, signing one of the most impressive "Handelian" operatic evenings in memory, at the level of the best European groups that have visited in recent years and, why not say it, surpassing in level several of them -with more renown, it should be noted-.
(...)
A magnificent "Handelian" evening, a superlative surprise starring this Vespres d'Arnadí which is to be congratulated unequivocally, for being capable of giving one of the best operatic performances of the German-British composer of all those the CNDM has already given, given that there are not a few, nor lesser, ensembles it has surpassed in these matters. A spike in Flanders that hopefully helps to put into perspective what the Spanish ensembles of historical music can mean for the European repertoires, more or less important. May it be so...
Ópera World (13.03.22) · Carlos Orejas
Espasa, together with his group, showed himself throughout the evening to be a solvent harpsichordist and an attentive conductor. A versatile musician, he demonstrated a high level of harpsichord playing and great maturity as a conductor in his interpretative choices. His ensemble did not lag behind him and was of the same high standard as any other major European group, both in the accompaniment of the singers and in the ritornellos and symphonies that punctuate the operatic action.
Scherzo (07.03.22) · Javier Sarría Pueyo
The orchestra was lavish in all respects, colour, attack, filling, intonation, drive, vitality, nuance... a living organism in all its splendour. The perfect balance between treble and bass, with two double basses providing the necessary density and forcefulness in the lower tessitura, something that others often neglect, was to be welcomed. The individuality of Rafael Bonavita - what a luxury to have a lutenist of his stature in the continuo - was equally brilliant, with a lovely improvisatory introduction to the first scene of the second act, or Dani Espasa himself, who did beautifully in the recitative prior to Pena tiranna. The recorders in Sussurrate, onde vezzose were beautiful, the woodwinds in their trio in Crudel, tu non farai were stupendous. And absolutely spectacular trumpet - with the usual holes, of course - in his three interventions, in particular the arias Sento la gioia and, above all, Desterò dall'empia Dite; keep the name of the craftsman: Bruno Fernandes.
Ópera Actual (05.03.22) · Antoni Colomer
A variety of moods and colours that was perfectly reflected in the version offered by the baroque orchestra Vespres d'Arnadí led by Dani Espasa, with a trajectory in constant ascent that consolidates in each of its appearances not only as one of the best specialised ensembles in the country, but also capable of playing in the league of the most outstanding specialised ensembles at international level. All of this is thanks to the talent and hard work of Espasa, who has led the group to reach high levels of quality and who shows himself to be a more solid and creative director every day.
Proof of this was an instrumentally impeccable and lively version, in which the ensemble's beautiful and well-mixed sound at all times stood out, as well as its flexibility in articulation and breadth in the palette of colours. A triumph in every sense of the word and a new leap in quality (...).
Tabaré · Teatro de la Zarzuela (Madrid)
Scherzo (08.03.22) · Manuel García Franco
Alejandro del Cerro (tenor) in the role of the Spanish captain Gonzalo de Orgaz was outstanding and his dedication to the character was fortunate, with an outstanding voice.
Platea Magazine (08.03.22) · Gonzalo Lahoz
(...) Alejandro del Cerro's Gonzalo was very enjoyable, with noble and dedicated singing.
Ópera Actual (07.03.22) · Mario Muñoz
Alejandro del Cerro's Gonzalo, with a touching ending, is at a very high level, despite the excesses of his character.
ABC (05.03.22) · Alberto González Lapuente
Alejandro del Cerro gives his heart and soul to Gonzalo, even getting emotional at the end of the play.
Alejandro del Cerro (tenor) in the role of the Spanish captain Gonzalo de Orgaz was outstanding and his dedication to the character was fortunate, with an outstanding voice.
Platea Magazine (08.03.22) · Gonzalo Lahoz
(...) Alejandro del Cerro's Gonzalo was very enjoyable, with noble and dedicated singing.
Ópera Actual (07.03.22) · Mario Muñoz
Alejandro del Cerro's Gonzalo, with a touching ending, is at a very high level, despite the excesses of his character.
ABC (05.03.22) · Alberto González Lapuente
Alejandro del Cerro gives his heart and soul to Gonzalo, even getting emotional at the end of the play.
Pélleas et Mélisande · Gran Teatre del Liceu (Barcelona)
Codalario (27.03.22) · Xavier Borja Bucar
(...) The same was true of the Yniold impersonated by Ruth González. With a softened voice and refined vibrato sounds, the soprano from Tenerife was a true discovery in her incarnation of the little boy, son of Golaud and Mélisande, and played one of the most unsettling moments of the whole performance, in the scene of Golaud's violent interrogation of his son, at the end of the third act.
El País (10.03.22) · Javier Pérez Senz
The soprano Ruth González, in the difficult role of the small and mistreated Yniold, completes a flawless cast.
Platea Magazine (08.03.22) · Alejandro Martínez
Good work, finally, by Ruth González as Yniold.
El Periódico (02.03.22) · Pablo Meléndez-Haddad
Little Yniold appeared very well defended by Ruth González.
Ópera Actual (01.03.22) · Fernando Sans Rivière
Special mention should be made of the young Yniold by soprano Ruth González, both vocally and acting-wise.
ABC (01.03.22) · Pep Gorgori
The rest of the cast must be mentioned, because each and every one of them excels in their role: (...) and Ruth González, who draws a Yniold with that mixture of innocence and perversion so 'Debussyian'.
Revista Musical Catalana (01.03.22) · Marta Porter
Ruth González gave a childlike fragility to her Yniold.
(...) The same was true of the Yniold impersonated by Ruth González. With a softened voice and refined vibrato sounds, the soprano from Tenerife was a true discovery in her incarnation of the little boy, son of Golaud and Mélisande, and played one of the most unsettling moments of the whole performance, in the scene of Golaud's violent interrogation of his son, at the end of the third act.
El País (10.03.22) · Javier Pérez Senz
The soprano Ruth González, in the difficult role of the small and mistreated Yniold, completes a flawless cast.
Platea Magazine (08.03.22) · Alejandro Martínez
Good work, finally, by Ruth González as Yniold.
El Periódico (02.03.22) · Pablo Meléndez-Haddad
Little Yniold appeared very well defended by Ruth González.
Ópera Actual (01.03.22) · Fernando Sans Rivière
Special mention should be made of the young Yniold by soprano Ruth González, both vocally and acting-wise.
ABC (01.03.22) · Pep Gorgori
The rest of the cast must be mentioned, because each and every one of them excels in their role: (...) and Ruth González, who draws a Yniold with that mixture of innocence and perversion so 'Debussyian'.
Revista Musical Catalana (01.03.22) · Marta Porter
Ruth González gave a childlike fragility to her Yniold.