David Portillo



Praised by Opera News for “high notes with ease, singing with a luxuriant warm glow that seduced the ear as he bounded about the stage with abandon,” American tenor David Portillo has established himself as a leading classical singer of his generation. Projects for recent seasons include Tamino in The Magic Flute at the Metropolitan Opera, Septimius in a new production of Theodora with Theater an der Wien, Don Ottavio in Don Giovanni and the Italian Singer in Der Rosenkavalier with Santa Fe Opera, Ferrando in Così fan tutte with The Dallas Opera, Pirro in Ermione opposite Angela Meade and Lawrence Brownlee with Washington Concert Opera, Nadir in The Pearl Fishers with Austin Opera, Tonio in La fille du regiment with Minnesota Opera, Nemorino in L’elisir d’Amore with Calgary Opera, Dr. Richardson in Missy Mazzoli’s Breaking the Waves with Detroit Opera, Hades in Eurydice with Boston Lyric Opera, Henry in Die schweigsame Frau with Bard Festival and Don Ottavio in Osaka, Japan. He joins the Los Angeles Philharmonic and Gustavo Dudamel for a world tour of Beethoven’s Fidelio as Jacquino, St. Paul Chamber Orchestra for the Messiah and Britten’s Serenade for Tenor, Horn and Strings and select Mozart arias, and Jane Glover and Music of the Baroque as the title role in Handel’s Jephtha. In the 2021-2022 season, David performed Lurcanio in Ariodante with the Palau des les Arts Reina Sofia in Valencia, Spain, Lysander in A Midsummer Night’s Dream with Opéra de Lille and Tamino in Die Zauberflöte with Pittsburgh Opera. An accomplished recitalist, David Portillo collaborated with pianist Craig Terry for appearances with Vocal Arts DC, Harris Theater and the Cleveland Art Song Festival.

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“David Portillo brought a perfect Mozartian tenor and solid acting ability to his memorable Ferrando.”

St. Louis Post-Dispatch

“Another revelation was David Portillo as Don Narcisco; certainly one of the future great Rossini tenors of his generation.”


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“As Ms. Leonard’s love interest, tenor David Portillo shone vocally as Count Almaviva in his Metropolitan Opera debut.”

DC Metro Theater Arts

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

Opera Today

“As Renaud, David Portillo displayed such a sweet, free-and-easy light tenor sound that one wished Gluck had given him more to sing.”

San Francisco Chronicle

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

Classical Source

“David Portillo contributed welcome lyricism with his honey-toned Andres.”

Opera News

“Tenor David Portillo handled the role with appropriate swagger tinged with confusion. Narciso’s also given some of Rossini’s most beautifuland challenging bel canto solos in this opera. Portillo handled it effortlessly, his performance highlighted by impeccable diction and almost dreamy legato.”

The Washington Times

“The earnest and steadfast young Price Ramiro was performed tonight by David Portillo, similarly making his WNO debut. Portillo, credited widespreadinternational acclaim especially for his portrayal of Rossini’s leading men, transfuses the adoration that is prevalent in his persona’s demeanor through his pure tenor tone.”

DC Metro Theater Arts

“Performance-wise the evening belonged to Erraught, Bordogna and David Portillo as our prince, Don Ramiro. David Portillo and Simone Alberghini were delighful as Don Ramiro and his valet Dandini. In a break with the traditional Cinderella fairy tale, the prince and the valet switch identities so as to better observe potential brides. When the rouse is revealed, Portillo is at his best displaying full charm as he searches for the woman who captured his heart with passionate “Si, ritrovarla io guiro.”

Broadway World

“David Portillo was the dulcet-voiced Ernesto. Highly impressive two seasons ago in a Palm Beach Barber of Seville and recently with a recital of Spanish song in Miami, this fine lyric tenor goes from strength to strength. He brought aching sadness to a meltingly beautiful DzMa fa il destinodz and phrased DzComé gentildz with grace. Portillo’s top range was free and unrestricted and he blended wonderfully in duet withBrugger. Displaying unflagging strength and momentum throughout the three acts, Portillo is the model of a first-rate bel canto tenor.”

South Florida Classical Review