Alfredo, Airam Hernández, se distingue par l’aisance de la projection, la beauté du timbre, et la sûreté du chant. Nous tenons là un grand ténor verdien.
Albert Decheux, CLASSIQUENEWS (France)

Alfredo, qui ne dispose lui aussi que de sa voix, faut-il le rappeler, est admirable du début à la fin. L’émission d’ Airam Hernández est superbe.  Un brindisi plus qu’honnête, la fougue de « De’ miei bollenti spiriti », le lumineux contre-ut tenu  de « O mio rimorso », les duos, tout emporte l’adhésion, sans histrionisme.
Yvan Beuvard, FORUMOPERA (France)

En Alfredo, le ténor canarien Airam Hernández (qui vient de quitter la production de Toulouse), est doté d’un timbre solaire et d’une superbe diction. Il tient parfaitement la ligne du duo du troisième acte qui souvent met les ténors en difficulté.
Pierre Degott, Olyrix (France)

L’Alfredo hipster de Airam Hernández émerveille par son moelleux et ses phrasés tandis
Nicolas Blanmont, LaLibre (Belgium)


Airam Hernández affirme un Alfredo d’une appréciable sincérité, au legato séduisant, même si, çà et là, la vigueur prend l’ascendant, en particulier dans la confrontation avec Germont…
Gilles Charlassier, ANACLASE (France)

Découvert non moins spectaculairement, la saison dernière, dans une Lucia Lausannoise, le jeune ténor espagnol Airam Hernández enchante à nouveau. Timbre éblouissant de juvénilité, souffle long, aigus faciles et sonores, phrasés d’une magnifique souplesse : tout convainc chez son Alfredo
Emmanuel Andrieu, Opera Online (France)

Dans le rôle d’Alfredo, Airam Hernández fait valoir, lui aussi, un chant superbement maîtrisé, au timbre lumineux, aux élans vigoureux et aux nuances justes.
Pierre CadarsConcertClassic (France)

Airam Hernández, pour ses débuts scéniques en France, incarne un Alfredo au timbre gorgé de soleil. Manquant d’abord de nuances, il monte en régime au fil de la représentation et offre de plus en plus d’intentions musicales et théâtrales. S’appuyant sur un soutien solide, il ancre un bas-médium riche et puissant, vibré avec souplesse. L’aigu final de son air de l’acte II est soyeux et maîtrisé.
Damien Dutilleul, Olyrix (France)

Prestation de premier ordre, auprès de laquelle la voix claire, légère, juvénile d’Airam Hernández crée un très pertinent contrepoint.”
Christian Merlin, Le Figaro (France)

Airam Hernández tient le rôle d’Alfredo sans vaciller avec un bas-médium riche, un timbre lumineux, une souplesse du chant et une générosité ardente.
Charlotte Saulneron, ResMusica (France)


Airam Hernández, as the hedonistic titular king, demonstrating great Italianate lyricism and a charming stage presence.
Catherine Kustanczy, Opera Canada (Canada)

“…die Partie des Tenor-Titelhelden deklamatorisch auftrumpft – Einspringer Airam Hernández imponiert mit Spinto-Metall und kraftvollem Gestus”
Regine Müller, Neue Musikzeitung (UK)

“…zum herrlich tönenden Duett mit Sardanapalo, dem Airam Hernández mit fein fokussierter Stimme heldisch sichere Tenorspitzen leiht. ”
Manuel Brug, WELT (Germany)

Idomeneo  Opernhaus Zürich

Airam Hernández was a terrific Arbace, whose telling line before the resolution on Act 3, “Things are going from bad to worse!” summed up the tenor of events in the Cretan court hitherto. His voice was as variable as his function, though: sometimes hard-lined and demonstrative, other times tender and supportive.
Sarah Batschlelet, Bachtrack

the Spanish tenor Airam Hernández confirmed his status as a rising star, this time in a supporting role, as Arbace.
Nicolas Blanmont, Opera (UK)

“the Arbace of the tenor from Tenerife Airam Hernández, who showed a complete control  of the phrasing and coloratura, which he attacked in a wonderful pianissimo on his first aria.
Albert Garriga, Opera Actual (Spain)

Perfetto l’Arbace di Airam Hernández, dalle agilità facili e freschissimo nel timbro.
Alessandro Cammarano, Le Salon Musical (Italy)

Faust  opera de tenerife

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

“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 Hernández 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 splendor.
John H. Mueller , Der Neue Merker

“…the destructive god Apollo, sung by Airam Hernández. 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 humor 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 Hernández 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 Hernández
Eleonore Büning, Frankfurter Allgemeine

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

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

“Impressive how Airam Hernández 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 (Russia)

“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 (Italy)

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

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

“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 (Russia)

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


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

“For the cabaletta Verdi joined him (Macduff) by Malcolm (sung by Airam Hernández), a second tenor aside, and both Breslik and Hernández 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  (France)

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 (Switzerland)

Juliette  Opernhaus zürich

“The young tenor Airam Hernández 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 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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