Turandot · Palau de les Arts (Valencia)
Las Provincias (08.06.26) · César Rus
There was not a single weak link in the cast, from the ministers and the Mandarin through to Altoum, sung by Josep Fadó.
El Diario.es (08.06.26) · Manuel Muñoz
Josep Fadó made a dignified and noble Emperor Altoum.
Ópera Actual (06.06.26) · Jerahy García
Josep Fadó acquitted himself well as both Altoum and the Prince of Persia.
Scherzo (05.06.26) · César Rus
Josep Fadó delivered a well-judged portrayal of Altoum.
Beckmesser (05.06.26) · Justo Romero
In keeping with the production’s outstanding vocal standards, tenor Josep Fadó distinguished himself as Emperor Altoum and the ill-fated Prince of Persia.
El País (04.06.26) · Pablo L. Rodríguez
Tenor Josep Fadó displayed fine vocal resources as Emperor Altoum.
There was not a single weak link in the cast, from the ministers and the Mandarin through to Altoum, sung by Josep Fadó.
El Diario.es (08.06.26) · Manuel Muñoz
Josep Fadó made a dignified and noble Emperor Altoum.
Ópera Actual (06.06.26) · Jerahy García
Josep Fadó acquitted himself well as both Altoum and the Prince of Persia.
Scherzo (05.06.26) · César Rus
Josep Fadó delivered a well-judged portrayal of Altoum.
Beckmesser (05.06.26) · Justo Romero
In keeping with the production’s outstanding vocal standards, tenor Josep Fadó distinguished himself as Emperor Altoum and the ill-fated Prince of Persia.
El País (04.06.26) · Pablo L. Rodríguez
Tenor Josep Fadó displayed fine vocal resources as Emperor Altoum.
Roméo et Juliette · Teatro Real (Madrid)
Opera World (06.06.26) · María Pardo
The remainder of the cast--Josep-Ramón Olivé, Pablo Martínez, Javier Castañeda, Laura Suárez, Elena Castresana and Bartomeu Guiscafré—contributed effectively to the overall strength and cohesion of the performance.
Platea Magazine (28.05.26) · Javier Pérez
The supporting cast also gave a commendable account of themselves, among them Tomeu Babiloni, Josep-Ramón Olivé, Pablo Martínez and Javier Castañeda.
The remainder of the cast--Josep-Ramón Olivé, Pablo Martínez, Javier Castañeda, Laura Suárez, Elena Castresana and Bartomeu Guiscafré—contributed effectively to the overall strength and cohesion of the performance.
Platea Magazine (28.05.26) · Javier Pérez
The supporting cast also gave a commendable account of themselves, among them Tomeu Babiloni, Josep-Ramón Olivé, Pablo Martínez and Javier Castañeda.
La fille du régiment · Teatro Cervantes (Malaga)
Mundo Clásico (02.06.26) · José Amador Morales
Javier Franco once again demonstrated the professionalism and dramatic effectiveness that make him such a reliable and welcome performer. While his voice may not possess an especially seductive timbre, his theatrical intelligence, musicality, and remarkable gift for characterisation consistently result in performances of considerable interest. His Sulpice was rich in humanity and expressive intent, in a season during which the baritone from A Coruña has already delivered outstanding performances in Andalusia, notably in the revival of Margot by Joaquín Turina in Córdoba and in his intense Verdi debut as Macbeth in the same city.
Le Salon Musical (26.05.26) · Vladimir Paredes
Baritone Javier Franco crafted a Sulpice of solid authority and carefully judged comic flair, endowing the character with the stature of a surrogate father capable of tenderness and gruff humour in equal measure.
Ópera Actual (25.04.26) · Alejandro Fernández
Javier Franco’s stage presence is always a guarantee, thanks to his unwavering dramatic and musical commitment. The baritone stood out for his evident psychological understanding of the character, combining vocal precision and generous projection with the dramatic dignity of his Sulpice. All of this was supported by fluent diction and a convincing ability to integrate seamlessly into the ensemble. His performance confirmed the maxim that La fille du régiment depends to a great extent on the precision of its cast and the perfect interplay between its various dramatic layers.
Pro Ópera (24.05.26) · Arturo Weber
Javier Franco, the baritone from A Coruña, proved a truly outstanding Sulpice, distinguished by the beauty of his timbre and the nobility of his vocal line.
Javier Franco once again demonstrated the professionalism and dramatic effectiveness that make him such a reliable and welcome performer. While his voice may not possess an especially seductive timbre, his theatrical intelligence, musicality, and remarkable gift for characterisation consistently result in performances of considerable interest. His Sulpice was rich in humanity and expressive intent, in a season during which the baritone from A Coruña has already delivered outstanding performances in Andalusia, notably in the revival of Margot by Joaquín Turina in Córdoba and in his intense Verdi debut as Macbeth in the same city.
Le Salon Musical (26.05.26) · Vladimir Paredes
Baritone Javier Franco crafted a Sulpice of solid authority and carefully judged comic flair, endowing the character with the stature of a surrogate father capable of tenderness and gruff humour in equal measure.
Ópera Actual (25.04.26) · Alejandro Fernández
Javier Franco’s stage presence is always a guarantee, thanks to his unwavering dramatic and musical commitment. The baritone stood out for his evident psychological understanding of the character, combining vocal precision and generous projection with the dramatic dignity of his Sulpice. All of this was supported by fluent diction and a convincing ability to integrate seamlessly into the ensemble. His performance confirmed the maxim that La fille du régiment depends to a great extent on the precision of its cast and the perfect interplay between its various dramatic layers.
Pro Ópera (24.05.26) · Arturo Weber
Javier Franco, the baritone from A Coruña, proved a truly outstanding Sulpice, distinguished by the beauty of his timbre and the nobility of his vocal line.
Werther · Gran Teatre del Liceu (Barcelona)
Scherzo (07.05.26) · Javier Pérez Senz
Special mention should be made of the Schmidt–Johann duo, performed by the highly experienced Josep Fadó and Enric Martínez-Castignani.
La Vanguardia (06.05.26) · Jordi Maddaleno
Magnificent and perfectly in tune with one another were Enric Martínez-Castignani’s theatrical Johann and Josep Fadó’s resonant Schmidt.
En Platea (06.05.26) · Norman Marsà
Among the supporting roles, the duo formed by Josep Fadó (Schmidt) and Enric Martínez-Castignani (Johann) stood out for their remarkable rapport, serving as an effective comic counterbalance at numerous points throughout the performance. Both displayed a keen understanding of the tone and pacing of their scenes, bringing lightness without descending into caricature—an essential quality in a work of such emotional intensity.
Platea Magazine (05.05.26) · Alejandro Martínez
Particularly noteworthy was the pairing of Schmidt and Johann, brought to life by two highly experienced performers, Josep Fadó and Enric Martínez-Castignani.
Ópera Actual (05.05.26) · Fernando Sans Rivière
Alongside them appeared a well-balanced local cast, each singer ideally suited to their role, beginning with the ever-charismatic and elegant bass Stefano Palatchi (Mayor), and the cohesive, spirited pairing of tenor Josep Fadó (Schmidt) and baritone Enric Martínez-Castignani (Johann).
Núvol (05.05.26) · Antoni Colomer
Josep Fadó shone in each of his appearances as Schmidt.
Llegir (04.05.26) · Albert Mena
Special mention should also be made of Josep Fadó, whose vocal line and projection proved thoroughly convincing.
Special mention should be made of the Schmidt–Johann duo, performed by the highly experienced Josep Fadó and Enric Martínez-Castignani.
La Vanguardia (06.05.26) · Jordi Maddaleno
Magnificent and perfectly in tune with one another were Enric Martínez-Castignani’s theatrical Johann and Josep Fadó’s resonant Schmidt.
En Platea (06.05.26) · Norman Marsà
Among the supporting roles, the duo formed by Josep Fadó (Schmidt) and Enric Martínez-Castignani (Johann) stood out for their remarkable rapport, serving as an effective comic counterbalance at numerous points throughout the performance. Both displayed a keen understanding of the tone and pacing of their scenes, bringing lightness without descending into caricature—an essential quality in a work of such emotional intensity.
Platea Magazine (05.05.26) · Alejandro Martínez
Particularly noteworthy was the pairing of Schmidt and Johann, brought to life by two highly experienced performers, Josep Fadó and Enric Martínez-Castignani.
Ópera Actual (05.05.26) · Fernando Sans Rivière
Alongside them appeared a well-balanced local cast, each singer ideally suited to their role, beginning with the ever-charismatic and elegant bass Stefano Palatchi (Mayor), and the cohesive, spirited pairing of tenor Josep Fadó (Schmidt) and baritone Enric Martínez-Castignani (Johann).
Núvol (05.05.26) · Antoni Colomer
Josep Fadó shone in each of his appearances as Schmidt.
Llegir (04.05.26) · Albert Mena
Special mention should also be made of Josep Fadó, whose vocal line and projection proved thoroughly convincing.
Cavalleria rusticana · Teatro Calderón (Valladolid)
Ópera Actual (30.04.26) · Agustín Achúcarro
Blanca Valido acquitted herself admirably as Lola, bringing complete assurance to the role and never being overshadowed by the emotional intensity of those around her.
Scherzo (23.04.26) · Andrés Moreno Mengíbar
Blanca Valido was a convincing Lola, displaying brilliance and a seductive quality in her phrasing.
Blanca Valido acquitted herself admirably as Lola, bringing complete assurance to the role and never being overshadowed by the emotional intensity of those around her.
Scherzo (23.04.26) · Andrés Moreno Mengíbar
Blanca Valido was a convincing Lola, displaying brilliance and a seductive quality in her phrasing.
Carmen · Teatro Municipale (Piacenza)
Pro Ópera (19.04.26) · Bernardo Gaitán
Jaquelina Livieri’s Micaëla stood out for her musical sensitivity and the beauty of her vocal timbre. The Argentine soprano captured the character’s sweetness and innocence through carefully judged dynamics, a flowing vocal line, and secure, resonant top notes. Her performance came into its own in the opera’s most lyrical passages, winning particular favour with the audience through her sincere interpretation of “Je dis que rien ne m’épouvante” and the deeply moving duet with Don José, “Parle-moi de ma mère !”.
Opera Click (19.04.26) · Simone Manfredini
Jaquelina Livieri’s Micaëla proved particularly compelling, carefully avoiding any naïvely stereotypical characterisation and instead presenting a figure of deep emotional involvement. Her vocal line, meticulously shaped and marked by remarkable warmth and suppleness, was complemented by sensitive phrasing that brought out the character’s most intimate nuances to striking effect.
Conessiall'Opera (18.04.26) · Favio Larovere
As Micaëla, Jaquelina Livieri delivered a performance of tender emotional involvement, conveyed through a voice of dark-hued timbre and remarkable flexibility.
Opera Teatro (17.04.26) · Marco Sonaglia
Jaquelina Livieri portrayed a Micaëla of great sweetness and intensity, her crystalline timbre shaped with exquisite refinement and nuance. Particularly beautiful was her rendition of “Je dis que rien ne m'épouvante”, in which all the character’s purity and innocence shone through.
Jaquelina Livieri’s Micaëla stood out for her musical sensitivity and the beauty of her vocal timbre. The Argentine soprano captured the character’s sweetness and innocence through carefully judged dynamics, a flowing vocal line, and secure, resonant top notes. Her performance came into its own in the opera’s most lyrical passages, winning particular favour with the audience through her sincere interpretation of “Je dis que rien ne m’épouvante” and the deeply moving duet with Don José, “Parle-moi de ma mère !”.
Opera Click (19.04.26) · Simone Manfredini
Jaquelina Livieri’s Micaëla proved particularly compelling, carefully avoiding any naïvely stereotypical characterisation and instead presenting a figure of deep emotional involvement. Her vocal line, meticulously shaped and marked by remarkable warmth and suppleness, was complemented by sensitive phrasing that brought out the character’s most intimate nuances to striking effect.
Conessiall'Opera (18.04.26) · Favio Larovere
As Micaëla, Jaquelina Livieri delivered a performance of tender emotional involvement, conveyed through a voice of dark-hued timbre and remarkable flexibility.
Opera Teatro (17.04.26) · Marco Sonaglia
Jaquelina Livieri portrayed a Micaëla of great sweetness and intensity, her crystalline timbre shaped with exquisite refinement and nuance. Particularly beautiful was her rendition of “Je dis que rien ne m'épouvante”, in which all the character’s purity and innocence shone through.
Carmen · Teatro Comunale (Modena)
Opera Teatro (12.04.26) · Patrizia Zamboni
Particular mention should be made of Jaquelina Livieri, the young Argentine soprano portraying Micaëla, whose singing was distinguished by its purity of tone and effortless vocal production. Her performance was truly outstanding and deeply moving.
Opera Libera (10.04.26) · Marco Faverzani
Jaquelina Livieri brings to Micaëla all the sweetness and delicacy inherent in the character. The soprano makes the most of the gentleness of her instrument, generous in the upper register while equally capable of producing exquisitely nuanced half-tones. Her portrayal is finely crafted, revealing not only the character’s tenderness but also her remarkable courage and determination.
Particular mention should be made of Jaquelina Livieri, the young Argentine soprano portraying Micaëla, whose singing was distinguished by its purity of tone and effortless vocal production. Her performance was truly outstanding and deeply moving.
Opera Libera (10.04.26) · Marco Faverzani
Jaquelina Livieri brings to Micaëla all the sweetness and delicacy inherent in the character. The soprano makes the most of the gentleness of her instrument, generous in the upper register while equally capable of producing exquisitely nuanced half-tones. Her portrayal is finely crafted, revealing not only the character’s tenderness but also her remarkable courage and determination.
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.