David Portillo was outstanding as Arbace. His second-act aria ‘Se il tuo duol’ (‘If your pains’) was a model of seamless delivery, remarkable technique, and touching expression.

David Portillo brought a vibrant, liquid tenor to the role of Arbace, the king’s devoted councilor. He showed fine flexibility in “Se l too duol, se il mo desio,” rounded

And tenor David Portillo shimmered in one of the opera’s few male roles, as Blanche’s heartbroken brother who begs her to flee war-torn France.

Blanche’s brother, the Chevalier de la Force (the sweet-voiced tenor David Portillo in an endearing performance), shares his father’s concerns about Blanche. As they talk, revolution is fomenting right outside

David Portillo’s clear, airy tenor was an ideal fit for the Chevalier de la Force, Blanche’s brother, colorful and light at its top.

Portillo’s lovely lyric tenor has gained depth and richness in recent years, and perhaps an additional dollop of honey in the timbre as well. Portillo essayed Miguel Sandoval’s classic “Sin tu amor” in grand style, and later displayed a beautifully floated upper register in a melting account of Carlos Guastavino’s “La Rosa y El Sauce.”

David Portillo’s agile and sweetly sung apprentice David deservedly steals the show.

David Portillo was an ardent Don Ottavio, with a bright tenor to match.

The lithe tenor David Portillo as Don Ottavio shone, and his voice never wobbled as he sustained and stretched notes to impressive length. His forthright commitment to his fiancé, Donna

Tenor David Portillo as Don Ottavio demonstrated a beautiful and warm tone, along with an amazing breath control and impressive ability to sustain phrases in his two arias, easily producing

Don Ottavio was sung by David Portillo, who has a massively beautiful voice, one that deserves much larger parts.

David Portillo‘s cleanly voiced Don Ottavio was refreshingly manly.

Tenor David Portillo, as Donna Anna’s fiancé, made the most of his two arias, delivering some agile, lyric singing in what must be one of the most thankless roles in

Tenor David Portillo has a gorgeous voice, and he never allowed Don Ottavio to lapse into any hint of wimpishness.

David Portillo, another newcomer, showed a beautifully balanced tenor.

When the soon-to-be spouses Beatrìz (a rich-voiced Sophie Bevan) and Eduardo (the shining tenor David Portillo) decide to end their torment apart from the rest of the company, they sing

The love duet between David Portillo and Sophie Bevan was a thing of beauty.

Sophie Bevan and David Portillo as the suicidal lovers infuse an especially intense duet with passion and despair.

David Portillo, a supremely versatile singer, finely attuned both to line and style, impressed greatly as Pasquale; his aforementioned aria was probably the highpoint of the entire evening.

His serenade to Norina was gorgeous, and his voice glowed warmly in the love-duet.

The Carsen production used American tenor David Portillo as the prince; Portillo offered a delicately sung and played Idamante, his finely scaled, piercing lyric voice deployed with elegant command of

Muy notable el Idamante de David Portillo, a quien había escuchado ya el pasado verano en Múnich, precisamente junto a Ivor Bolton en Orlando Paladino. Voz de emisión flexible, cantante

Tenor David Portillo sang as impeccably as ever as the noble Lurcanio.

David Portillo sang Lurcanio with a stylish grace that marked him out as a young tenor to watch.

Pumping out long lines of notes at brisk tempos were the second pair of lovers, Lurcanio (sung by David Portillo, with gentle clarion ardor) and Dalinda.

The solid bass-baritone Matthew Brook, as the king; the spirited tenor Tyson Miller, as Odoardo, the king’s aide; and the sweet-voiced tenor David Portillo, as Ariodante’s devoted brother, were all

Tenor David Portillo’s excellently sung Lurcanio.

Portillo brought down the house with his aria “Ecco spiano. Ecco il mio trillo” towards the end of Act 2; the aria requires the singer to demonstrate mezza voce, trills,

Tenor David Portillo was exemplary as Belmonte’s servant Pedrillo, with flexible legato and clarion top notes.

...the excellently projected of tenor David Portillo as Pedrillo, convincing as a suffering GI on the edge

David Portillo was especially fine in Pedrillo’s song in the desert. (Further to the severed-head theme, Mr. Portillo also furnished the evening’s most memorable image when he was buried to

Tenor David Portillo, who has a beautiful lyric sound, had no difficulty reaching the nine high Cs in the famous aria.