David Portillo

Tenor

Biography

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.  An exciting 2018-2019 season includes a return to the Metropolitan Opera for a role debut as the Chevalier de la Force in Dialogues des Carmélites, a debut at the Bolshoi as Count Libenskof in Il viaggio a Reims, a return to the Lyric Opera of Chicago for Arbace in Idomeneo with Sir Andrew Davis, an opera he will perform for his debut with the Teatro Real in Madrid, but as Idamante, and finally Oper Frankfurt and the Glyndebourne Festival as Tamino in Die Zauberflöte. On two separate occasions in the season, Mr. Portillo will return to his hometown of San Antonio, Texas for a role debut as Alfredo in La traviata with Opera San Antonio, as well as a solo orchestral program of Italian repertoire with the San Antonio Symphony and Sebastian Lang-Lessing. Orchestral engagements include a return to the Los Angeles Philharmonic for Beethoven’s Mass in C Major, and Haydn’s Lord Nelson Mass with Gustavo Dudamel, an appearance with Grant Gershon and the Los Angeles Master Chorale for Mozart’s Requiem, and Carmina Burana with DePaul University as part of the opening celebrations of the Holtschneider Performance Center.

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Reviews

“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.”

ConcertClassic.com

More Reviews

“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

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