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. In the 2021-2022 season, Mr. Portillo will perform Lurcanio in Handel’s Ariodante with the Palau des les Arts Reina Sofia in Valencia, Lysander in A Midsummer Night’s Dream with Opéra de Lille, and Tamino in Die Zauberflöte with Pittsburgh Opera.

Cancellations due to the Covid-19 pandemic included appearances at the Metropolitan Opera as the title role in Roberto Devereux and as Tybalt in Roméo et Juliette, the Bayerische Staatsoper as Pasquale in Haydn’s Orlando Paladino, Opera Theatre of St. Louis as Mr. Rodriguez in what  would have been the world-premiere of Tobias Picker’s Awakenings, and Minnesota Opera as Lensky in Eugene Onegin. In concert, he had been scheduled to perform Beethoven’s Symphony No. 9 with the Indianpolis Symphony Orchestra, Berlioz’s Roméo et Juliette with the Kansas City Symphony, and Handel’s Messiah with the St. Paul Chamber Orchestra.

In the 2020-2021 season, Mr. Portillo performed the title role in a filmed version of Albert Herring with Minnesota Opera, originated the role of Jonathan Harker in the world premiere of John Corigliano and Marc Adamo’s Lord of Cries with Santa Fe Opera, gave a virtual recital for Valhalla Media Live with pianist Yasuko Oura, and was the tenor soloist in Bach’s B Minor Mass with the Orchestre Métropolitain in Montreal, conducted by Yannick NézetSéguin. In the 2019-2020 season, he returned to the Metropolitan Opera for his role debut as Steuermann in a new production of Der fliegende Holländer, conducted by Valery Gergiev, and as Tamino in the English-language version of The Magic Flute, a role he then reprised with Washington National Opera.

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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.”


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