RenéBarbera

Press

• L'elisir d'amore

  Teatro Regio di Torino

  Jan 2025 - Feb 2025

  • René Barbera è oggi una delle voci più interessanti e versatili nel repertorio donizettiano per sicurezza dei mezzi vocali, eleganza stilistica e buona presenza scenica. Qualità che il numeroso pubblico torinese ha ben apprezzato nel corso della serata regalando un caloroso applauso ad “Una furtiva lacrima” andata diritta al cuore per finezza negli accenti riflessivi e malinconici. La voce sonora e luminosa di Barbera si espande bene in un ambiente teatrale ma a voler fare i pignoli pecca un po’ di monocromaticità soprattutto per quanto riguarda l’espressività delle dinamiche." [Translated] "Coming to the voices and starting with Nemorino, René Barbera is today one of the most interesting and versatile voices in the Donizetti repertoire for the security of his vocal means, stylistic elegance and good stage presence. Qualities that the large Turin audience appreciated well during the evening, giving a warm applause to “Una furtiva lacrima” which went straight to the heart for the finesse in its reflective and melancholic accents. Barbera's sonorous and luminous voice expands well in a theatrical environment but if we want to be picky it lacks a bit of monochromaticity especially with regard to the expressiveness of the dynamics.

    • Opera Click
    • 28 January 2025

  • Nemorino di umanità disarmante, qui interpretato da René Barbera, tenore di comprovata fama nel repertorio belcantistico, apprezzato per il timbro luminoso, la sapienza nell’uso dei fiati e per l’ottimo fraseggio. Artista in crescendo, Barbera connota il suo Nemorino di sfumature e delicatezza che esaltano l’innocente ingenuità del personaggio, paragonato al povero Pinocchio che da tutti è maltrattato: gran finale con l’attesa Una furtiva lagrima che gli vale calorosi e scroscianti applausi." [Translated] "Nemorino of disarming humanity, here interpreted by René Barbera , a tenor of proven fame in the bel canto repertoire, appreciated for his luminous timbre, his skill in the use of wind instruments and for his excellent phrasing. An artist in constant growth, Barbera characterizes his Nemorino with nuances and delicacy that enhance the innocent naivety of the character, compared to poor Pinocchio who is mistreated by everyone: grand finale with the long-awaited Una furtiva lagrima that earns him warm and thunderous applause.

    • Le Salon Musicale
    • 28 January 2025

  • René Barbera, rôle qu’il interprète souvent, n’est pas moins impressionnant, avec une belle couleur du timbre, une technique aguerrie dans les deux airs solistes du finale de l’acte I puis dans le très célèbre « Una furtiva lagrima » : en grand artiste qu’il est, le chanteur n’a pas cédé aux exagérations dans certains effets faciles, mais a au contraire conservé une ligne vocale d’une grande pureté." [Translated] "The very likeable Nemorino of René Barbera , a role he often plays, is no less impressive, with a beautiful colour of tone, a technique seasoned in the two solo arias of the finale of Act I and then in the very famous "Una furtiva lagrima": as a great artist that he is, the singer did not give in to exaggerations in certain easy effects, but on the contrary maintained a vocal line of great purity.

    • Premiere Loge
    • 04 February 2025

  • René Barbera interpreta, con un’intimismo particolarissimo, il personaggio di Nemorino, rendendolo sognante con dei filati delicatissimi. La sua è una lama luminosa, perfettamente idonea a questo ruolo, e lo stile esecutivo è aggraziato percepibile in toto in Adina, credimi, da cui emerge tutto il sentimentalismo del tenore, dotato di ottimo fraseggio e solida tecnica." [Translated] "René Barbera interprets the character of Nemorino with a very particular intimacy, making him dreamy with very delicate threads. His is a luminous blade, perfectly suited to this role, and the executive style is graceful, perceptible in its entirety in Adina, credimi, from which emerges all the sentimentality of the tenor, gifted with excellent phrasing and solid technique.

    • Art in Movimento
    • 09 February 2025

• Don Giovanni

  Teatro Comunale di Bologna

  May 2024 - Jun 2024

  • René Barbera in stato di grazia che ha portato in scena uno dei migliori Don Ottavio per eleganza di stile e linea vocale. Successo cordiale per tutti i fautori dello spettacolo con più insistenti applausi per il Don Ottavio di René Barbera e la Donna Anna di Valentina Varriale che nonostante l’avesse già cantata la sera prima non si è tirata indietro e ha generosamente salvato la recita." [Translated] "René Barbera in a state of grace who brought to the stage one of the best Don Ottavios for elegance of style and vocal line. Cordial success for all the supporters of the show with more insistent applause for René Barbera's Don Ottavio and Valentina Varriale's Donna Anna who, despite having already sung it the evening before, did not hold back and generously saved the performance .

    • L'opera oggi
    • 28 May 2024

  • René Barbera se tomó muy en serio su papel de protector de Donna Anna, un tenor que cuenta con una sólida técnica que le permite destellos de calidad. Barbera dió importancia a un personaje favorecido solo por dos hermosas arias." [Tramnslated] "René Barbera took his role as protector of Donna Anna very seriously, a tenor who has a solid technique that allows him flashes of quality. Barbera gave importance to a character favored only by two beautiful arias.

    • Codalario
    • 28 May 2024

  • Molto buona la prova di Renè Barbera che interpeta un Don Ottavio che è un piacere per le orecchie." [Translated] "Very good performance by Renè Barbera who plays Don Ottavio which is a pleasure for the ears.

    • Oltre Cultura
    • 07 June 2024

  • Molto bene René Barbera (26 maggio). Il suo Don Ottavio eccelle per il gusto, la raffinatezza e allo stesso tempo per il calore. Belle le due arie (l’edizione adottata è il solito mix di Praga e Vienna), soprattutto “Dalla sua pace”; lodevole anche “Il mio tesoro”, pur se sarebbero state desiderabili alcune prese di fiato in meno (anche senza auspicare il mantice inesauribile di un Rockwell Blake)." "Very good René Barbera (26 May). His Don Ottavio excels in taste, refinement and at the same time in warmth. The two arias are beautiful (the edition adopted is the usual mix of Prague and Vienna), especially “Dalla pace di lui”; “My Treasure” is also commendable, although a few fewer breaths would have been desirable (even without hoping for the inexhaustible bellows of a Rockwell Blake).

    • Opera Click
    • 07 June 2024

• La Traviata

  Opéra national de Paris

  Jan 2024 - Feb 2024

  • Il tenore René Barbera è stato un Alfredo Germont di grande qualità, con una bella voce, una proiezione adeguata e acuti perfetti. Non ha deluso al fianco di Sierra e Tézier, due vere stelle del firmamento lirico di oggi. [Translated] The tenor René Barbera was an Alfredo Germont of great quality, with a beautiful voice, adequate projection and perfect high notes. He did not disappoint alongside Sierra and Tézier, two true stars of today's opera firmament.

    • L'Ape Musicale
    • 25 January 2024

  • René Barbera campe un Alfredo tout aussi jeune, tendre et charnel. D’une aisance déconcertante sur l’ensemble de sa tessiture et capable des plus délicates nuances piano, le ténor caresse et le texte et la mélodie. [Translated] René Barbera portrays an Alfredo who is just as young, tender and carnal. With disconcerting ease across his entire range and capable of the most delicate piano nuances, the tenor caresses both the text and the melody.

    • Bachtrack
    • 23 January 2024

  • René Barbera est un Alfredo Germont à la hauteur de sa partenaire. Si le ténor américano-mexicain dresse un portait vocal plus que convaincant du jeune amoureux, c’est surtout son incarnation du personnage qui touche au cœur. Bonhomme, tendre, sensible, juste, voilà un jeune homme qui ne mérite pas son malheur. Le chanteur est à l’avenant avec une maîtrise subtile de la ligne, un vrai sens des nuances et des aigus soutenus. Le couple qu’il forme avec Nadine Sierra est magique et magnifique. [Translated] René Barbera is an Alfredo Germont worthy of his partner. If the Mexican-American tenor paints a more than convincing vocal portrait of the young lover, it is above all his incarnation of the character that touches the heart. Good-natured, tender, sensitive, fair, here is a young man who does not deserve his misfortune. The singer is impressive with a subtle mastery of the line, a real sense of nuance and sustained high notes. The couple he forms with Nadine Sierra is magical and magnificent.

    • Première Loge
    • 22 January 2024

  • René Barbera incarne Alfredo de son timbre vaillant et chaleureux avec équilibre. La simplicité touchante de son phrasé s’épanouit notamment dans le candide passage de vie à la campagne. [Translated] René Barbera embodies Alfredo with his valiant and warm tone with balance. The touching simplicity of his phrasing blossoms particularly in the candid passage of life in the countryside.

    • Olyrix
    • 21 January 2024

  • Alfredo è interpretato da René Barbera, che offre una linea di canto omogenea, caratterizzata da un legato impeccabile e suoni che trovano particolare lucentezza nel registro acuto; forte di una emissione ben controllata, il cantante si dimostra efficace anche nella tessitura centrale. Le caratteristiche di tenore lirico dal timbro chiaro e squillante ne fanno un ottimo interprete, che risulta efficace sia nei momenti appassionati che nelle carezzevoli mezzevoci del duetto “Parigi, o cara”. [Translated] Alfredo is played by René Barbera , who offers a homogeneous singing line, characterized by an impeccable legate and sounds that find particular brilliance in the high register; thanks to a well-controlled emission, the singer also proves effective in the central tessitura. The characteristics of a lyric tenor with a clear and ringing timbre make him an excellent interpreter, who is credible both in the passionate moments and in the caressing half-voices of the duet "Parigi, o cara".

    • Conessi all'Opera
    • 13 February 2024

  • René Barbera took on the role of Alfredo with a compelling mix of ardor and innocence. His tenor voice, rich in texture, perfectly conveyed Alfredo’s passionate love and anguish. Barbera’s performance of “De’ miei bollenti spiriti” highlighted his lyrical capabilities and emotional expressiveness, drawing the audience into Alfredo’s hopeful yet doomed love story. The chemistry between Barbera and Sierra added a tangible intensity to their duets, notably in “Parigi, o cara,” where their harmonious blend captured the tragic beauty of their characters’ relationship.

    • Opera Wire
    • 05 March 2024

• Adelaide di Borgogna

  Rossini Opera Festival

  Aug 2023

  • La voce di René Barbera si è trasformata, ha acquisito robustezza e volume ed è più ricca di armonici, mantenendo però la facilità della salita all’acuto e l’agilità delle colorature: un ottimo Adelberto." "René Barbera’s voice has been transformed, has gained robustness and volume and is richer in harmonics, while retaining the ease of rising to the treble and the agility of coloraturas: an excellent Adelberto.

    • Mauro Mariani, Il giornale della musica
    • 18 August 2023

• Der Rosenkavalier

  The Metropolitan Opera House

  Apr 2023

  • Resplendent in a white suit, René Barbera delivered the Italian Singer’s love song with tight focus and just a touch of weepy Caruso parody, no doubt exactly as Strauss intended.

    • David Wright, New York Classical Review
    • 16 April 2023

• Falstaff

  La Fenice

  Nov 2022

  • Per René Barbera, la parte di Fenton è una specie di passeggiata. Abituato a ruoli ben più ardui sotto il profilo del virtuosismo e dell’estensione, il tenore messicano-americano ha gioco facile nel far valere la piacevolezza di un timbro da lirico-leggero, una linea di canto impeccabile, sempre sul fiato, e un appropriato gioco di chiaroscuri." "For René Barbera, Fenton’s part is something of a cakewalk. Accustomed to much more arduous roles in terms of virtuosity and range, the Mexican-American tenor has easy play in asserting the pleasantness of a lyric-light timbre, an impeccable line of singing, always on the breath, and an appropriate chiaroscuro game.

    • Roberto Mori, Connessi all’opera
    • 18 November 2022

• Il barbiere di Siviglia

  L'Opéra national de Paris

  • René Barbera , who already shone as a Count in this in loco production in 2014 and 2018, also begins gently, but already with an intensity of timbre and solar colors, and to better leap from the first great phrasing towards a projection beautiful cantiste (with treble as well unchecked as the small pebbles he throws on the shutters of Rosine). The Mediterranean (albeit modern) colors of this set are found in his voice, even for the tightrope walker transitions – falling on his feet – and the intensity of his held highs. The public applauds him so much that he has him saluted, twice, even before the end of the score.

    • Charles Arden, Olyrix

• Guillaume Tell

  New National Theatre Tokyo

  Nov 2024

  • On the other end of the spectrum was Barbera, who starts off the opera relegated to the sidelines, literally, and whose initial recitative was a cry of desperation. “Le mien, dit-il, jamais le mien ! Que ne puis-je taire à moi-même” allowed Barbera to establish his musical footprint on the performance, his clear and commanding tenor ringing vibrantly into the space. And it set up a fantastic tête à tête with Myshketa’s Guillaume in their duet. With Myshketa at his trumpeting best, Barbera’s “Ah Mathilde, idole de mon ame” soared with the tenor’s confidence in his upper range, particularly on the high Cs. The passages lies high in the tenor range but seems tailor-made for the Barbera’s voice, judging from the seeming ease with which he executed each passage. A lot of tenors are still warming up at this point and it would be forgivable if they weren’t fully at home to start (I’ve seen it), but Barbera showed no such hesitancy, continuing to build what would be a memorable interpretation. The tenor showed off his agility and fluidity of line throughout the duet, particularly during “Il est donc sorti de son âme,” throwing off the triplet quarter-eights off with ease and then gliding up on the fifth jumps to G and A with similar bravura and elegance, his voice even from middle to the top and vibrant at the top. But it wasn’t all thrills and brightness as the tenor shaped with tenderness throughout “Doux aveu ! ce tendre langage,” each line caressed as Arnold enjoys a brief and fleeing moment of bliss with his beloved Mathilde. The final section of the duet saw the tenor at his most electric, the voice trumpeting into the space with abandon, capping the duet with a glorious top C. Then the trio where Arnold discovers that his father is dead. Personally, it is my single favorite moment in the opera (hence my complaining about the cut earlier) as Rossini manages to use the tenor’s range to explore the intensity of pain, the high notes allowed to express something primal and visceral in the context of both drama and melody. But before the Andantino section, Arnold gets a few broken lines to process the information of his father’s death. From “Qu’entends je” to “j’expire,” the tenor made a gradual diminuendo, the final “j’expire” a pure, delicate pianissimo sound. It allowed him to open “Ses jours qu’ils ont osé proscrire” with a thread of sound and elegantly build the line up to the first “Mon père, tu m’as dû maudire,” the forte Gs opening up with a forte sound. But Barbera continued to build through the line, his tenor blossoming up to the high B on “je ne te verrai plus.” But he had even more to offer throughout the remainder of the ensemble, and as he rose to that top A# on “Ciel je ne le verrai plus” he found another gear, his vocal potency arresting in its volume and intense expression. Perhaps having no repetition of the line allowed him to give it more on his single opportunity, but nonetheless, it was a moment to cherish. Arnold’s big scene comes at the end of the opera with his famous aria “Asile héréditaire” and here Barbera displayed similar fluidity of line, the lengthy high Bb’s delivered with blooming crescendos, the aria itself feeling more and more expansive as if Arnold is holding on to the last remaining threads of his former self. The tenor then put on a virtuosic display throughout “Amis, amis, secondez ma vengeance,” his voice ringing through with rhythmic precision, and the high Cs trumpeted with aplomb. He held the final high C on “aux armes” over the orchestra with fierce muscularity.

    • Opera Wire
    • 25 November 2024

  • American tenor René Barbera has also appeared in two Rossini opera buffa (comic operas), "The Barber of Seville" (2020) and "Cenerentola" (2021), but this is his first time performing seria. His endlessly reaching high notes and dense voice skillfully portray a character who wavers between love and justice.

    • Web Taiyo
    • 25 November 2024

  • René Barbera es un tenor que ya ha cantado con éxito las óperas cómicas de Rossini en Tokio, pero su Arnold (en su debut) fue excepcional, con brillantes notas agudas, técnica vocal y un canto refinado pero apasionado. [Translated] René Barbera is a tenor who has already sung Rossini’s comic operas with success in Tokyo, but his Arnold (in his debut) was exceptional, with brilliant high notes, vocal technique and refined but passionate singing.

    • Opera Actual
    • 25 November 2024

  • Shocked by Rene Barbera's magnificent singing I was blown away by the superb voice of American tenor Rene Barbera, who played the role of Arnold, the man tormented by love for Habsburg princess Mathilde. I was overwhelmed many times by the richness of her voice, while still having a natural flow of French. I felt the air in the theater resonating with her beautiful voice. I was very excited to experience the talent of a singer who continues to perform on the world's highest stage

    • Art Exhibition Japan
    • 25 November 2024