Reviews · Season 2025/26

Mezzo-soprano Sandra Ferrández and baritone César San Martín both demonstrated ease, command of the stage and full interpretative understanding, as well as musical craft and intentional phrasing, both in arias and duets and in the recitatives, so fundamental in this context.

We were impressed by César San Martín's Julián, with his deep, well-coloured baritone voice, who knew how to bring out the most moving moments of his role: from the angry outbursts against his "barely repressed" jealousy to his confessions of pain and love for his girlfriend Susana.

Baritone César San Martín, in the role of the jealous Julián, was undoubtedly the standout protagonist of the performance, thanks to a solid dramatic characterisation and excellent vocal projection.

For his part, baritone César San Martín more than delivered as Felipe, showing solid vocal production and a well-coloured voice. While fitting the character's traditional Spanish profile, he managed to give it a much more romantic touch, both scenically and vocally.

Felipe, brought to life by César San Martín with a variety of nuances and a well-established baritone voice.

Baritone César San Martín, making his debut as Felipe, shone with his well-coloured voice which he handles with ease, and offered a nuanced interpretation of the character.

Without doubt, the most accomplished performance, in terms of vocalisation and diction, was that of baritone César San Martín.

The cast was completed by the fine baritone César San Martín, who gave a very convincing Paquiro. At all times he remained fully in character both vocally and scenically. Always far from any affectation, he conveyed with sobriety and elegance the personality that Periquet and Granados attribute to the popular bullfighter. Sober and elegant. A very positive performance.

A textbook Paquiro — arrogant and ardent, as well as vocally solid — from baritone César San Martín.

the boastful and provocative bullfighter Paquito from the ever-reliable baritone César San Martín

César San Martín embodied a tormented Julián, with open vocal production and commanding stage presence, standing out in all his interventions.

The Madrid-born César San Martín (Astolfo) displayed the broadest voice and, although he is a baritone rather than a bass, he navigated the low notes with ease and showed exquisite taste in his phrasing.

Baritone César San Martín lets his hair down — figuratively and literally — delivering a hilarious comic creation without sacrificing musicality. His performance of the number "Es chiquitito, blanco y rubito" is prodigious in this sense: while undergoing a beauty treatment bordering on torture, victim of ever more grimaces and spasms, he never loses his vocal line and resolves ornamental passages, leaps and descents to the low register, displaying a homogeneous tone throughout his range and bringing intention to every word.

While all four performers reached great heights in their dual roles, it is fair to say that César San Martín raised the bar highest, as the absolute master of the evening. The Madrid baritone combined his vocal temperance and musical solidity with a hilarious, brilliant cross-dressing creation as the Baronesa in Gato por liebre, and a Don Alfonso in El Vizconde that was parodic yet never excessive in its ridiculous affectation as guardian of the Vivar lineage.