Faust  opera de tenerife

“The tenor from Santa Cruz, Airam Hernández (Faust) showed volume and excelent command of his timbre, together with a very good emission, in a promising debut.
Estrella Ortega, Opera Actual

“I am someone who never accepts a challenge I cannot accomplish”

Airam is interviewed by the Canarian newspaper to discuss about his debut in his homeland and why Faust is simply the perfect role for him.

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“Airam Hernández as Edgardo, also an agile actor, whose virile presence was ideally balanced by the warmth and finesse of his singing (he was superb in the final scene)
Nicolas Blanmont, Opera (UK)

“Airam Hernández also made his debut with the role of Edgardo. Besides his excellent diction, the young singer from Tenerife has a softly timbre, colorful tenor voice, which in his last scene ‘Tu che a Dio spiegasti l’ali’ and through subtle use of mezza-voce, movingly expressed the loss of his great love.
W.Kutzschbach, Das Opernglas (Germany)

“It is then that we really discover the revelation of talent with tenor Airam Hernández (Edgardo) who, attracting attention with his beautiful ‘Sulla tomba che rinserra…’ from the beginning, asserts himself as an exceptional singer. More than a superb singer with an impeccable vocal line, perfect diction, impressive projection, he dares an overwhelming interpretation of vocal colors, tension and authenticity. Qualities that are usually recognized in experienced singers, whilst the Spanish tenor is singing the part for the first time. It was necessary to hear Airam Hernández in the final scene, when he discovers the disappearance of Lucia. Attacking mezza-voce a heartbreaking call to his lost love, without pathos, with just the intense truth of this disappearance, the Canarian tenor proves to be a formidable singer.  An artist to follow.
Jacques Schmitt, ResMusica (France)

“Thanks to a great flexibility of emission, Airam Hernández knows how to fold the metal sound of his voice into the sweetest nuances, Edgardo tortured and suicidal of an exemplary line, whose great scene is magnificent.”
Didier Van Moere, Díapason Magazine (France)

“The tenor Airam Hernández debuted in Lausanne in the role of Edgardo, a veritable tour de force for tenors. The Canarian artist has a beautiful timbre and a natural adaptability and elegance that allow him to approach even the most intimate moments, those that require more refinement, performing a delicate “Tombe degli avi mei”, in which he gift us stratospheric pianissimi, and his heartfelt “Fra little to me ricovero “, or braver renditions such as the duo “Qui del padre ancor respira”. Despite his youth, the tenor made Edgardo his own, reaping much success.”
Albert Garriga, Ópera Actual (Spain)

“Airam Hernández séduit en Edgardo par son timbre raffiné et délicat, à l’opposé de son physique massif et trapu, ainsi que par l’ardeur qu’il confère à son personnage.”
Claudio Poloni, ConcertoNet

“…le ténor espagnol Airam Hernandez n’impressionne pas moins avec ses aigus sûrs et percutants, et campe un Edgardo robuste, viril et ardent, aux passions exacerbées, capable de transformer la scène finale en véritable climax.”
Emmanuel Andrieu, Opera Online

“…mais surtout Airam Hernández (Edgardo), vaillant autant que nuancé, doté d’un timbre rond et chaleureux, qui émeut dans son désespoir ultime.”
Laurent Bergnach, ANACLASE


“The trio of soloists was at the height of this popular cantata, remarkably…in the tenor’s intervention in the fifth number…The power, projection and tuning of Airam Hernández’s voice allowed him to exhibit adequately the faculties of a Wagnerian Heldentenor. This way, he overcome with technical efficiency and musicality one of the most dramatic, demanding and, therefore, singular moments of this piece”
José Antonio Cantón, Scherzo Magazine (Spain)


“The double and complex role of Apollo/Dyonisos was performed by the canarian tenor Airam Hernández. Endowed with an instrument of great beauty, his interpretation was overwhelming and he surprised during his interventions in which he had to show two gods with quite differentiated vocality and dramatic character. Without any doubt, one of the main points of this Orest.
Albert Garriga, Ópera Actual (Spain)

“Apollo was superbly performed by Airam Hernández”
Nicolas Blanmont, Opera (UK)

A very special praise deserves Airam Hernández, which as the double god Apollo/Dionysus on one hand gives the man of reason, who calls for renewed violence in the name of justice and eternal glory, and on the other hand, with a golden erect giant penis shows the Dionysian pleasurable side of life. Airam Hernández succeeds outstandingly, with his wonderfully light and precisely appealing tenor voice, in bringing to life the two sides of the figure.
Kaspar Sannemann, Oper Aktuell

As the janus-faced god Apollo/Dionysus, once again, the highly gifted Airam Hernández to be pleased with, as he personified the vain god both acting and singing with tenoral splendour.
John H. Mueller , Der Neue Merker

“…the destructive god Apollo, sung by Airam Hernandez. He was cast as a conniving womanizer. Showy as his oversized strap-on penis was, it was his singing that rendered him his most potent power, and the inherent humour of his exaggerated portrayal was welcome in the context of such terror on stage.”
Sarah Batschelet, Bachtrack

“The dual role of Apollo and Dionysus is accomplished by Airam Hernandez with his penetrating vitality – the transformation is done by the golden phallus and the laurel wreath, which he always has at hand.”
Joachim Lange, Die Deutsche Bühne

“Apollo / Dionysos, brilliantly sung by Airam Hernandez”
Eleonore Büning, Frankfurter Allgemeine

“Airam Hernandez deserves praises in his double role as Apollo and Dionysus.”
Vorarlberger Nachrichten

“In between, the God who changes between Apollo and Dionysos. Airam Hernandez sings both brilliantly. He has briefcases and hats. If necessary, a golden phallus and laurel wreath.
Roberto Becker, Online Musik Magazin

“Impressive how Airam Hernandez mastered the divine double role of Apollo / Dionysos.”
Reinmar Wagner, Musik&Theater


“Without self-esteem is impossible to be self-critics with our job”  

Airam is interviewed by Edurne G. Ordoñez for the Spanish digital press platform about his beginnings, current life and his exciting future projects.

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“The first cast is rich in strong vocal and acting performances, and the grace and accuracy of the ensemble is convincing. Soft timbre, clear style, uniformity of registers and good vocal school: those are not the only attributes of the Spanish tenor Airam Hernández in this performance. Hernández is a highly sensitive singer during ensemble parts and creates an extremely touching Alfredo.”
Julia Bederova, Musical Review (Музыкальное обозрение)

“Alfredo (Airam Hernández) have the timbre of the young Pavarotti, an italian diction that not even in Italy, and a soft voice of velvet…”
Franco Soda, Il Giornale della Musica

“As her partner (Alfredo) shone the extraordinary Spanish tenor Airam Hernández, striking sparks with his beautiful singing.”
Vladimir Dudin, Nezavisimaya Gazeta

“Airam Hernández (Alfredo Germond) passionately and sensitively leads lyrical passages, alternating them with a touching calm in some others”
Katya Nechitaylo,

“The role of Alfredo it was sang by the charming and voluminous-voiced Spanish tenor Airam Hernández. After each aria of Violetta and Alfredo, not to mention after the duets, the audience burst in applauses, only surpassed by the final ovation
Elena Cheremnyh, Business Gazeta

“Specially beautiful was the work of the fantastic Spanish tenor Airam Hernández singing the role of Alfredo”


“Airam Hernández as Malcolm was also shining with a very secure voice.”
Shinobu Naka, Ongaku no Tomo Magazine

“For the cabaletta Verdi joined him (Macduff) by Malcolm (sung by Airam Hernández), a second tenor aside, and both Breslik and Hernandez was attuned, fierce and intoxicating at La patria tradita.”
Kaspar Sannemann, Oper Aktuell

As Malcolm once again Airam Hernández captures the attention with his beautiful tenor voice
John H. Mueller, Der Neue Merker

“Airam Hernández et Ivana Rusko respectivement Malcolm et la camériste de Lady Macbeth sont également impeccable de tenue vocale et de musicalité”
Amalthée, Amalthée Journaliste 

Falstaff  opernhaus zürich

“I rarely hear Dr. Cajus such fantastically sung as Airam Hernández did: a real luxury for the cast!”
John H. Mueller, Der Neue Merker

“Airam Hernández, newly incorporated to the group, seduced in the role of Dr. Cajus with his voice petulant of health and a volume remarkably big.”
Éric Pousaz, Scènes Magazine

Juliette  Opernhaus zürich

“The young tenor Airam Hernandez stands out from the great soloists ensemble, where each individual has to sing and play several roles. With his versatile tenor voice he plays no less than five convincing roles. His voice has a range of changing colors, which he adequate for each one of them.  ”
Peter E. Rytz, Opernnetz

“In their multiple roles, the elegant tenor Airam Hernández stood out especially for his sardonic Commissar in the Central Office of Dreams”
John Allison, Opera Magazine (UK)

“The Canarian tenor Airam Hernández brilliantly metamorphosed from one character to another (five in all) with nonchalant ease.”
Martin Wheeler, Opera News (USA)

“ An outstanding example is the young Airam Hernández in five episodic roles to which he could give life with stage personality and wit, along with a beautiful voice .”
John H. Mueller, Der Neue Merker

“Airam Hernández shines as  as the Commissioner, the Postman, the Forester, the Train Driver and the Night Watchman,”
Kaspar Sannemann, Oper Aktuell

MAG Magazine, January 2015


Airam sing five different roles on Zurich premiere of Martinů’s Juliette directed by Andreas Homoki and conducted by Maestro Fabio Luisi. Read the insider article about this exciting production.

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