CRÍTICAS DE PRENSA Y BLOGS
The Stage :
Rolando Villazón encuentra finalmente su mejor forma y su tono mas redondo !!!!
This is London: Villazon, who caused a small riot in the title role four years ago, returned as the poet, his interpretation more thoughtful, his dark-hued sound more intelligent.
Mostly Opera:Rolando Villazón triumphs in Hoffmann Tale's
Gert's blog:The star of the show was Rolando Villazón and he was fabulous / This role is ideal for him, vocally and dramatically
Thelegraph: Clearly relaxed and enjoying himself, he sang firmly and securely, hitting top notes squarely and sustaining climaxes without wavering, carving a shapely melodic line and painting the mercurial, conflicted personality of the drunken bipolar poet with tremendous wit and panache.
Independent minds: Good to find Rolando Villazon looking and sounding so relaxed as the ardent and well-lubricated Hoffmann in Offenbach's Les Contes d'Hoffmann
Times Online: He’s simply Villazón: back again with his trademark exuberance, hard ringing tenor, amazing eyebrows, and frightening ability to act a part as though wringing its neck.
Intermezzo: This performance saw an older and wiser Villazón. A new word has entered his vocabulary - restraint-
musicomh: Not vintage Offenbach then, but worth catching for Villazon's return to form.
El Confidencial: Villazón reaparece en plena forma en Londres con "Los Cuentos de Hoffmann"
Bloomberg: TenorRolando Villazón was so happy with his performance in the Royal Opera’s “Les Contes d’Hoffmann” (The Tales of Hoffmann) on Nov. 25 that he performed a huge victory leap during his curtain call. It was well deserved.
Times Online: The superb Rolando Villazón sings the title role in Offenbach's only opera, with deluxe support from Antonio Pappano, conducting.
The Guardian: Villazón pitches on to the stage to portray Hoffmann's near-madness with such veracity that you find yourself wondering, for once, whether what you are watching is genuinely real. Back on vocal form after his recent bad patch, he achieves a poetic intensity that has been matched by few.
Financial Times: His Hoffmann has surprising stamina but the volume produced is in inverse proportion to the nervous energy expended; I just hope he is not wearing himself out when he should be devoting his light lyric tenor to Donizetti.
Gert's blog (1/12): I agree that he sang gloriously, gorgeously; I agree that he was completely committed and convincing in the role - that wasn't Rolando, that was ETA Hoffmann.
Intermezzo: Rolando Villazon Hoffs again
The Teenage Critic: Villazón was built for this role and this production, his incredible stage presence and voice ideally suited.