Die Zauberflöte · Teatro Campoamor (Oviedo)
Scherzo (13.10.21) · Nuria Blanco Álvarez
Jaquelina Livieri very well in her role as Pamina.
Ópera Actual (12.10.21) · Cosme Marina
In the cast we must highlight (...) the more than solvent Pamina by Jaquelina Livieri, sweet, naive and very well focused on the vocal requirements of the role.
Platea Magazine (12.10.21) · Javier Labrada
From the cast point of view, however, the truth is that the title was defended with great success, with interesting names and a notable future projection, which is always enriching to see in theaters like Oviedo. That was the case, without going any further, of the Pamina by Jaquelina Livieri, owner of a truly striking instrument for its amplitude and color and which, along with the irreproachable Papageno by Manel Esteve, was among the best of the night.
La Nueva España (10.10.21) · Cosme Marina
Likewise, Jaquelina Livieri's Pamina is very successful (...). Vocally she brings well the richness of the role, its sweetness in expression, the naive joy and the dreaminess that define it. Her singing line is careful, although the high register is sometimes somewhat opaque.
The dames -Maria Miró, Serena Pérez and Marina Pardo- are very efficient in a magnificent joint service.
El Comercio (09.10.21) · Ramón Avelló
The Argentine soprano Jaquelina Livieri recreated a lyrical and sweet Pamina. She was the most applauded voice of the night. She sings naturally, has a very orange, polished timbre and a varied expressiveness, through which she transmits sweetness, desolation -in her aria from the second act- and joy.
La Nueva España (09.10.21) · Andrea G. Torres
Livieri, who sings with great sensitivity, was resounding, with a uniform voice throughout the register, delicate but resolute, and with a very careful vocal line.
Maria Miró, Serena Pérez and Marina Pardo in the roles of the three dames did a good job together.
Jaquelina Livieri very well in her role as Pamina.
Ópera Actual (12.10.21) · Cosme Marina
In the cast we must highlight (...) the more than solvent Pamina by Jaquelina Livieri, sweet, naive and very well focused on the vocal requirements of the role.
Platea Magazine (12.10.21) · Javier Labrada
From the cast point of view, however, the truth is that the title was defended with great success, with interesting names and a notable future projection, which is always enriching to see in theaters like Oviedo. That was the case, without going any further, of the Pamina by Jaquelina Livieri, owner of a truly striking instrument for its amplitude and color and which, along with the irreproachable Papageno by Manel Esteve, was among the best of the night.
La Nueva España (10.10.21) · Cosme Marina
Likewise, Jaquelina Livieri's Pamina is very successful (...). Vocally she brings well the richness of the role, its sweetness in expression, the naive joy and the dreaminess that define it. Her singing line is careful, although the high register is sometimes somewhat opaque.
The dames -Maria Miró, Serena Pérez and Marina Pardo- are very efficient in a magnificent joint service.
El Comercio (09.10.21) · Ramón Avelló
The Argentine soprano Jaquelina Livieri recreated a lyrical and sweet Pamina. She was the most applauded voice of the night. She sings naturally, has a very orange, polished timbre and a varied expressiveness, through which she transmits sweetness, desolation -in her aria from the second act- and joy.
La Nueva España (09.10.21) · Andrea G. Torres
Livieri, who sings with great sensitivity, was resounding, with a uniform voice throughout the register, delicate but resolute, and with a very careful vocal line.
Maria Miró, Serena Pérez and Marina Pardo in the roles of the three dames did a good job together.
Madama Butterfly · Teatro de la Maestranza (Seville)
Ópera Actual (13.10.21) · Juan José Roldán
Gerardo Bullón triumphed, with a confident and imposing voice, with a homogeneous line and well-placed bass, who perfectly captured the humanity of his character, being able to transmit it both on a musical and strictly dramatic level.
Opera World (11.10.21) · Federico Figueroa
In my opinion, it would have been appreciated if this cast had assumed more functions since the Sharpless offered by Gerardo Bullón, a baritone with quality vocal material, was on a par with his companions. His voice was always present, with some sound that he should 'cover' a little more, and from the first moment he appeared on stage, he knew how to create his character.
Diario de Sevilla (08.10.21) · Pablo J. Bayón
The Sharpless by Gerardo Bullón is magnificent. The Madrid baritone is not as lyrical as Damián del Castillo and perhaps his phrasing is not so fine, but his voice is beautiful, his emission of enormous clarity and his volume, enough for theater, orchestra and bombs.
Beckmesser (07.10.21) · Andrés Moreno Mengíbar
For Gerardo Bullón there were no problems with the pit because his voice has sufficient volume and projection, which, together with the beautiful enamel of his sound and his command of phrasing (his almost conversational singing when reading the letter was exceptional), made him an ideal Sharples.
Gerardo Bullón triumphed, with a confident and imposing voice, with a homogeneous line and well-placed bass, who perfectly captured the humanity of his character, being able to transmit it both on a musical and strictly dramatic level.
Opera World (11.10.21) · Federico Figueroa
In my opinion, it would have been appreciated if this cast had assumed more functions since the Sharpless offered by Gerardo Bullón, a baritone with quality vocal material, was on a par with his companions. His voice was always present, with some sound that he should 'cover' a little more, and from the first moment he appeared on stage, he knew how to create his character.
Diario de Sevilla (08.10.21) · Pablo J. Bayón
The Sharpless by Gerardo Bullón is magnificent. The Madrid baritone is not as lyrical as Damián del Castillo and perhaps his phrasing is not so fine, but his voice is beautiful, his emission of enormous clarity and his volume, enough for theater, orchestra and bombs.
Beckmesser (07.10.21) · Andrés Moreno Mengíbar
For Gerardo Bullón there were no problems with the pit because his voice has sufficient volume and projection, which, together with the beautiful enamel of his sound and his command of phrasing (his almost conversational singing when reading the letter was exceptional), made him an ideal Sharples.
Nabucco · Teatro Campoamor (Oviedo)
Ópera Actual (21.09.21) · Diana Díaz
In this second cast, a powerful Maite Alberola prevailed in the role of Abigail. The soprano played the former slave and supposed daughter of King Nabucco, with an edgeless interpretation, maintaining the strength of the character in the different passages of her vocal role. With this, it is necessary to highlight the evolution of Abigail from the second act, to show Alberola all his range of vocal and expressive means, in one of the most complicated characters for his string, and a prelude to Verdian characters of great dramatic charge.
In this performance, Zaccaria was Javier Castañeda. The priest of the Hebrews must transmit strength and solemnity, in a demanding score due to its length and its richness of sound intensities. The bass-baritone solved his part with interesting contrasts and an adequate vocal flexibility, to be highlighted in the prayer of the second act.
In this second cast, a powerful Maite Alberola prevailed in the role of Abigail. The soprano played the former slave and supposed daughter of King Nabucco, with an edgeless interpretation, maintaining the strength of the character in the different passages of her vocal role. With this, it is necessary to highlight the evolution of Abigail from the second act, to show Alberola all his range of vocal and expressive means, in one of the most complicated characters for his string, and a prelude to Verdian characters of great dramatic charge.
In this performance, Zaccaria was Javier Castañeda. The priest of the Hebrews must transmit strength and solemnity, in a demanding score due to its length and its richness of sound intensities. The bass-baritone solved his part with interesting contrasts and an adequate vocal flexibility, to be highlighted in the prayer of the second act.
El árbol rosa · National Music Auditorium (Madrid)
Scherzo (17.09.21) · Tomás Marco
The premiere work was 'El árbol rosa', a work for voice, choir and orchestra, the result of an order from ORCAM and AEOS to the Madrid composer Marisa Manchado (...). A work of great interest that had interpreters who knew how to defend it very well, especially the soprano Celia Alcedo with her wide voice and her great musical knowledge.
Beckmesser (22.09.21) · Mario Muñoz Carrasco
The program was opened by a piece by Marisa Manchado, 'El árbol rosa', ordered by the SGAE Foundation and the AEOS (...). The soprano Celia Alcedo allowed herself to be caught up in the atmosphere and brought color and coherence to the ensemble, very well received by the audience.
The premiere work was 'El árbol rosa', a work for voice, choir and orchestra, the result of an order from ORCAM and AEOS to the Madrid composer Marisa Manchado (...). A work of great interest that had interpreters who knew how to defend it very well, especially the soprano Celia Alcedo with her wide voice and her great musical knowledge.
Beckmesser (22.09.21) · Mario Muñoz Carrasco
The program was opened by a piece by Marisa Manchado, 'El árbol rosa', ordered by the SGAE Foundation and the AEOS (...). The soprano Celia Alcedo allowed herself to be caught up in the atmosphere and brought color and coherence to the ensemble, very well received by the audience.
I Puritani · Teatro Colón (A Coruña)
Codalario (07.09.21) · Raúl Chamorro Mena
After a magnificent career based on supporting roles, it is not easy to debut as a leading man in a role as complicated as Sir Riccardo Forth, a noble baritone, 'a sublime lover' in the words of Bellini himself. Well, the baritone Gerardo Bullón, despite still lacking that stylistic finish and a greater range of bel canto nuances and finesse, managed to successfully face that first foray as the protagonist and, of course, given the shortage of quality baritones that we suffer in the current lyric, we cannot afford not to have a baritonal timbre of such beauty, brilliance, nobility and sonority.
Beckmesser (07.09.21) · Andrés Moreno Mengíbar
Gerardo Bullón assumed the role of Ricardo Forth. His voice is forceful (his 'Cavalier!' is spectacular in the final scene), with wide sound mediums and canonical projection, which together with a beautiful timbre makes him one of the most interesting baritonal voices in Spain today.
La Voz de Galicia (06.09.21) · Antón de Santiago
They contributed to the success (...); Gerardo Bullón, as Riccardo, for whom it could be good the 'arrotondamento' for his well-timbred voice.
After a magnificent career based on supporting roles, it is not easy to debut as a leading man in a role as complicated as Sir Riccardo Forth, a noble baritone, 'a sublime lover' in the words of Bellini himself. Well, the baritone Gerardo Bullón, despite still lacking that stylistic finish and a greater range of bel canto nuances and finesse, managed to successfully face that first foray as the protagonist and, of course, given the shortage of quality baritones that we suffer in the current lyric, we cannot afford not to have a baritonal timbre of such beauty, brilliance, nobility and sonority.
Beckmesser (07.09.21) · Andrés Moreno Mengíbar
Gerardo Bullón assumed the role of Ricardo Forth. His voice is forceful (his 'Cavalier!' is spectacular in the final scene), with wide sound mediums and canonical projection, which together with a beautiful timbre makes him one of the most interesting baritonal voices in Spain today.
La Voz de Galicia (06.09.21) · Antón de Santiago
They contributed to the success (...); Gerardo Bullón, as Riccardo, for whom it could be good the 'arrotondamento' for his well-timbred voice.
Lucia di Lammermoor · Gran Teatre del Liceu (Barcelona)
Platea Magazine (18.07.21) · Alejandro Martínez
Good job as a whole by the cast of 'comprimarios', highlighting (...) Emmanuel Faraldo (Arturo).
Ópera Actual (17.07.21) · Fernando Sans Rivière
The Argentine tenor Emmanuel Faraldo also stood out (...).
Good job as a whole by the cast of 'comprimarios', highlighting (...) Emmanuel Faraldo (Arturo).
Ópera Actual (17.07.21) · Fernando Sans Rivière
The Argentine tenor Emmanuel Faraldo also stood out (...).
Werther · Staatsoper Stuttgart
Frankfurter Allgemeine Zeitung (13.07.21) · Von Jan Brachmann
Albert is also excellently cast with the Polish baritone Paweł Konik. He exudes a vocal nobility (...).
Klassik begeistert (14.07.21) · Andreas Schmidt
Paweł Konik, baritone, born in Cieszyn, Poland. What a voice! It sits in the body and yet it frees itself and nests itself in every corner of the house. Bravo! A delightful choice worth coming back for!
Albert is also excellently cast with the Polish baritone Paweł Konik. He exudes a vocal nobility (...).
Klassik begeistert (14.07.21) · Andreas Schmidt
Paweł Konik, baritone, born in Cieszyn, Poland. What a voice! It sits in the body and yet it frees itself and nests itself in every corner of the house. Bravo! A delightful choice worth coming back for!
Tosca · Teatro Real (Madrid)
Ópera Actual (09.07.21) · Gonzalo Lahoz
Among the compressaries, I should highlight the Angelotti by Gerardo Bullón, an artist who has me more and more obsessed with the honesty and category not only of his instrument, but of his career, without the absurd impositions of so many colleagues for wanting to achieve greater fame. His song is art, his exalted means. Nothing else.
Codalario (09.07.21) · Raúl Chamorro Mena
Entre los secundarios corresponde destacar el Angelotti del barítono Gerardo Bullón, herido en la pierna en este montaje y que, siempre aplicado en lo interpretativo, debe cantar sus frases introductorias de la ópera tumbado de espaldas y totalmente horizontal, lo que no fue obstáculo para que su timbre atractivo y de apreciable caudal corriera por la sala.
Among the compressaries, I should highlight the Angelotti by Gerardo Bullón, an artist who has me more and more obsessed with the honesty and category not only of his instrument, but of his career, without the absurd impositions of so many colleagues for wanting to achieve greater fame. His song is art, his exalted means. Nothing else.
Codalario (09.07.21) · Raúl Chamorro Mena
Entre los secundarios corresponde destacar el Angelotti del barítono Gerardo Bullón, herido en la pierna en este montaje y que, siempre aplicado en lo interpretativo, debe cantar sus frases introductorias de la ópera tumbado de espaldas y totalmente horizontal, lo que no fue obstáculo para que su timbre atractivo y de apreciable caudal corriera por la sala.
El Gato Montés · Teatro Campoamor (Oviedo)
Ópera Actual (28.06.21) · Pablo Gallego
The space is the arena and the house, and the prison in which Soleá is enclosed, embodied by the soprano Nicola Beller Carbone. Her devoted performance, vocally and scenic, produces a magnetic field that makes the gypsy girl's fiery suffering credible.
Opera World (28.06.21) · Alejandro G. Villalibre
Nicola Beller Carbone (Soleá) showed that it is a repertoire that perfectly adjusts to her singing and acting abilities.
The space is the arena and the house, and the prison in which Soleá is enclosed, embodied by the soprano Nicola Beller Carbone. Her devoted performance, vocally and scenic, produces a magnetic field that makes the gypsy girl's fiery suffering credible.
Opera World (28.06.21) · Alejandro G. Villalibre
Nicola Beller Carbone (Soleá) showed that it is a repertoire that perfectly adjusts to her singing and acting abilities.
La Bohème · Gran Teatre del Liceu (Barcelona)
Ópera Actual (17.06.21) · Marcelo Cervelló
The incorporation as Schaunard of a very active Josep-Ramon Olivé, one of the best elements of this second cast, was very successful.
The incorporation as Schaunard of a very active Josep-Ramon Olivé, one of the best elements of this second cast, was very successful.
Il barbiere di Siviglia · Teatro Villamarta (Jerez)
Ópera Actual (14.06.21) · Nicolás Montoya
Rossini's musical subtext was faithful to the principle of stripping its protagonists. Figaro's cavatina and its duets are typical of impudence. Bartolo's arias are slow and monotonous. Rossina's, fresh and playful. Those of the Count, full of romanticism and those of Don Basilio, tricksters.
The light tenor Quintin Bueno, making his debut in large roles, sang a Conde de Almaviva sure in the highs and with ductility, with power, also in the concertantes, and with a correct interpretation.
Codalario (14.06.21) · José Antonio Cantón
The general sensation that this production left was that of a representation that did not stop growing in comic intensity carried by the cleanliness and freshness of its score, very well understood from the podium (Carlos Aragón) and very correctly assumed its risks in singing each character, achieving a sparkling Barbiere.
Despite the need for a tuned vocal with a timbral character of the tenor Quintín Bueno when he entered the scene, this circumstance was soon overcome favored by the freshness of this score, as was later revealed in the duo «Alla'idea di quel metallo »from the first act with Figaro.
Scherzo (11.06.21) · Andrés Moreno Mengíbar
Carlos Aragón did a great job with the Malaga orchestra to achieve a light articulation, with little pressure on the strings and incisive attacks, until he extracted a wide range of colors from the strings. His tempi were always alive, without dropping the energy that Rossini's score gives off; the well-riveted accents and the characteristic crescendi regulated down to the millimeter. The time bomb that is the primo finale exploded in an explosion of overwhelming musical force, just as Rossini would have liked. He listened with care to the voices, which he never covered up and which he managed to concert effectively in the ensemble numbers.
Platea Magazine (11.06.21) · Javier del Olivo Sanz
The conductor, Carlos Aragón, a regular in Villamarta productions, opted from the overture for slower times than usual. Without ever losing the tension, this tempi option allowed us to appreciate musical details that sometimes go unnoticed in more accelerated readings. Always attentive to his singers, he directed with precision and thought especially with reading him to make the work of the scene easier.
Quintín Bueno fulfilled his complicated role, which has so many interventions throughout the work, but he did not shine like the rest of his companions. It should be noted that he attacked with ease the most committed highs in which he proved to be the possessor of an enviable trust and that he was willful in acting.
Rossini's musical subtext was faithful to the principle of stripping its protagonists. Figaro's cavatina and its duets are typical of impudence. Bartolo's arias are slow and monotonous. Rossina's, fresh and playful. Those of the Count, full of romanticism and those of Don Basilio, tricksters.
The light tenor Quintin Bueno, making his debut in large roles, sang a Conde de Almaviva sure in the highs and with ductility, with power, also in the concertantes, and with a correct interpretation.
Codalario (14.06.21) · José Antonio Cantón
The general sensation that this production left was that of a representation that did not stop growing in comic intensity carried by the cleanliness and freshness of its score, very well understood from the podium (Carlos Aragón) and very correctly assumed its risks in singing each character, achieving a sparkling Barbiere.
Despite the need for a tuned vocal with a timbral character of the tenor Quintín Bueno when he entered the scene, this circumstance was soon overcome favored by the freshness of this score, as was later revealed in the duo «Alla'idea di quel metallo »from the first act with Figaro.
Scherzo (11.06.21) · Andrés Moreno Mengíbar
Carlos Aragón did a great job with the Malaga orchestra to achieve a light articulation, with little pressure on the strings and incisive attacks, until he extracted a wide range of colors from the strings. His tempi were always alive, without dropping the energy that Rossini's score gives off; the well-riveted accents and the characteristic crescendi regulated down to the millimeter. The time bomb that is the primo finale exploded in an explosion of overwhelming musical force, just as Rossini would have liked. He listened with care to the voices, which he never covered up and which he managed to concert effectively in the ensemble numbers.
Platea Magazine (11.06.21) · Javier del Olivo Sanz
The conductor, Carlos Aragón, a regular in Villamarta productions, opted from the overture for slower times than usual. Without ever losing the tension, this tempi option allowed us to appreciate musical details that sometimes go unnoticed in more accelerated readings. Always attentive to his singers, he directed with precision and thought especially with reading him to make the work of the scene easier.
Quintín Bueno fulfilled his complicated role, which has so many interventions throughout the work, but he did not shine like the rest of his companions. It should be noted that he attacked with ease the most committed highs in which he proved to be the possessor of an enviable trust and that he was willful in acting.
Viva la mamma · Teatro Real (Madrid)
Ópera World (12.06.21) · Germán García Tomás
Very toned voice that shows the tenor Alejandro del Cerro in the German Guglielmo, who once again wore his beautiful color and light mediums of Rossinian features in the aria that opens the second part before the empty theater.
Platea Magazine (10.06.21) · Gonzalo Lahoz
Alejandro del Cerro's Guglielmo was also a joy. A pleasure in creating a character, round, complete, coherent. Sensational in the comical side, where even the involuntary movement of hair accompanied him, and successful in the vocal, with a beautiful singing line, putting out an aria that appeared complicated.
Ópera Actual (10.06.21) · Mario Muñoz
Alejandro del Cerro stood out mainly in his ensemble numbers, something that is not easy in this opera. When it was his turn to defend bel canto, he did so without haste, although somewhat lacking in emotion.
Bachtrack (06.06.21) · Leonardo Mattana Ereño
Alejandro del Cerro (Guglielmo) was right at the beginning, he gave an exhilarating moment in his duet-duel with Mamma Agata and was correct in the melancholic aria of the second act.
Very toned voice that shows the tenor Alejandro del Cerro in the German Guglielmo, who once again wore his beautiful color and light mediums of Rossinian features in the aria that opens the second part before the empty theater.
Platea Magazine (10.06.21) · Gonzalo Lahoz
Alejandro del Cerro's Guglielmo was also a joy. A pleasure in creating a character, round, complete, coherent. Sensational in the comical side, where even the involuntary movement of hair accompanied him, and successful in the vocal, with a beautiful singing line, putting out an aria that appeared complicated.
Ópera Actual (10.06.21) · Mario Muñoz
Alejandro del Cerro stood out mainly in his ensemble numbers, something that is not easy in this opera. When it was his turn to defend bel canto, he did so without haste, although somewhat lacking in emotion.
Bachtrack (06.06.21) · Leonardo Mattana Ereño
Alejandro del Cerro (Guglielmo) was right at the beginning, he gave an exhilarating moment in his duet-duel with Mamma Agata and was correct in the melancholic aria of the second act.
El rey que rabió · Teatro de la Zarzuela (Madrid)
Codalario (12.06.21) · Raúl Chamorro
As always, very resolute on stage, with that feeling that those who feel comfortable on stage give, Ruth González as the page, with which she compensated for the modest sound presence in her number with the third act chorus.
Platea Magazine (11.06.21) · Gonzalo Lahoz
Among the rest of the secondary roles, all with a good vocal level, the page of Ruth González also stood out.
Scherzo (07.06.21) · Manuel García Franco
The show, not lacking in a good dose of histrionics, was complemented by other singing actors, among which Ruth González should be highlighted as the king's servant.
El País (04.06.21) · Jorge Fernández Guerra
As a complement, singing actors as sure as María José Suárez, Pep Molina or Ruth González.
Periodista digital (04.06.21) · José Catalán Deus
The secondary cast does not have many moments of brilliance, but (...) the light lyrical soprano Ruth González Mesa had them in that sparkling Page.
As always, very resolute on stage, with that feeling that those who feel comfortable on stage give, Ruth González as the page, with which she compensated for the modest sound presence in her number with the third act chorus.
Platea Magazine (11.06.21) · Gonzalo Lahoz
Among the rest of the secondary roles, all with a good vocal level, the page of Ruth González also stood out.
Scherzo (07.06.21) · Manuel García Franco
The show, not lacking in a good dose of histrionics, was complemented by other singing actors, among which Ruth González should be highlighted as the king's servant.
El País (04.06.21) · Jorge Fernández Guerra
As a complement, singing actors as sure as María José Suárez, Pep Molina or Ruth González.
Periodista digital (04.06.21) · José Catalán Deus
The secondary cast does not have many moments of brilliance, but (...) the light lyrical soprano Ruth González Mesa had them in that sparkling Page.