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“In the central role of Caruso was the tenor, Airam Hernandez, who successfully managed to capture the essence of the character; dressed in a white suit with a Panama hat, possessing a similar physique, and adopting the big gestures of a man of the stage, he could not be mistaken for anyone other than the great tenor.
Moreover, Hernandez’s sweet lyrical and expansive bel canto singing, aided by the beauty of his warm middle register, added to the portrayal. The love duet with Aida, in particular, was sensitively and beautifully rendered. For large parts of the performance, however, we watched on as Caruso is subjected to increasing emotional pressure, in which Hernanadez successfully shifted from a lyrical to a more psychologically intense and emotionally disturbed presentation, his voice becoming stretched and discordant, in a compelling portrait of a man whose emotional framework is on the point of collapse.”

Alan Neilson, OPERAWIRE

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©Dik Nicolai

©Dik Nicolai

©Dik Nicolai

©Dik Nicolai

La Traviata, Théâtre du Capitole de Toulouse ©Mirco Magliocca

La Traviata, Théâtre du Capitole de Toulouse

Sardanapalo, Staatskapelle Weimar ©Candy Welz

Sardanapalo, Staatskapelle Weimar

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