Performance Reviews

Cavalleria Rusticana/Pagliacci (P. Mascagni/R. Leoncavallo)

SLO spread its casting net wider afield this year, engaging two America-based singers, Dominican tenor Jose Heredia and Italian-American soprano Lisa Algozzini in their Singapore debuts, to helm the major roles of both operas…Truly inspired finds, both were young and fresh yet had enough experience to command the stage with authority…A vital chemistry was struck for their antagonistic male-female love pairings in the tragedies that unfolded. Both singers lived their respective dual roles to perfection, none better than in Canio's hit aria Vesti La Giubba, illustrating a clown's desperate dilemma caught between acting and real life, nailed with vehemence by Heredia.

Un ballo in maschera (G. Verdi)

“Tenor José Heredia sang Riccardo (Based on Gustave III) This enchanting tenor from Santo Domingo was in excellent voice and bearing for this performance. Heredia has grown as an artist and his rhapsodic tenor has beauty, ease and upward promise. Bursts of glory prevailed with intelligent pacing and refined legato. His elegant singing of “Amici miei, soldati” and “La rivedra nell’estasi” were well noted with effortless and powerful ascents. At Ulrica’s witches den, Riccardo sings “Di’ tu se fedele,” then laughs and starts the Quintet “È scherzo od è follia.” His combining rapid singing mixed with laughter was admirable. Enrico Caruso, the magnificent tenor, made a recording of this on April 3, 1914 with other arias from Il Ballo – give it a google. Riccardo and Amelia were truly united in their captivating love duet “Non sai tu che se l’anima mia” with swirling heavenly music ending in a rhapsodic high C. In Act 3 Scene 2, Riccardo resolves to renounce his love and sings, “Ma se m’è forza perderti.” Heredia’s voice was beautifully secure and his middle register was a launching pad for some truly pristine notes. I have heard the great Carlo Bergonzi in this role as well as Luciano Pavarotti but José Heredia makes for a trio of great Riccardo’s. The squillo in his tone, the way he rides his voice to the upper chambers and the pleasing, plangent quality of his vocal palette, puts him in a position of rapid forward momentum toward international acclaim.”

- Nino Pantano, Brooklyn Discovery.

Aida (G. Verdi)

“As the Egyptian army commander Radames, Jose Heredia’s first aria, “Celeste Aida,” opened the opera with a captivating hook thanks to his tremendous spinto voice, further bolstered by the fanfare coming from the horns. Though I was expecting this quality to be the one on display for the entire aria, Heredia ended the phrase “un trono vicino al sol” with a chillingly-delicate B Flat morendo, drawing great applause and cries of “bravo!” only halfway through its delivery. Heredia’s interpretation favored Radames as a man martyred in the name of love more than the heroic commander of Egypt’s armies. While more than capable of fighting off the warrior king Amonasro, it was Radames’ interactions with Aida where his performance became simply magnetic, in particular in the Act 3 duet “Pur ti riveggo.” Here Heredia and Carami Hilaire exchanged jubilant high notes as they envisioned what life could be like together.”

- Logan Martell, Operawire.

Tosca (G. Puccini)

“In the opera world, some performances are preceded by opera” buzz.” For the performance attended by this writer, it was about the tenor, José Heredia, who played the role of Mario Carvaradossi, a painter. Mr. Heredia’s singing of “Recondita armonia” was sung with sweetness and ringing power. This was a “full lyric” voice with a Pavarottian shimmer, sparkle and a very secure foundation. His jealousy duet with Tosca was done with humor and elan and a beautiful arched and cavernous upper register.In Act Two, Cavaradossi (Heredia’s) defiance of Scarpia and his lackeys was strong and his cries of “Vittoria, vittoria!,” at the news that the Napoleonic forces had won a victory, rang through the theatre. In the final act his exquisite singing of “E lucevan le stelle” was opera magic. His spinning the notes, polishing the silverware so to speak, was of the highest order. The tragic lamentation of his final phrase won the hearts of the audience. No “grandstanding” – just singing “on the word” and articulating it with sweetness and fervor. The final
duet “O dolci mani” was a true heavenly blend, their voices bouncing off the walls with ardor and hope. Cavaradossi died well.”

– Nino Pantano, Brooklyn Discovery.

La Traviata (G. Verdi)

“As her young respectable lover, tenor Jose Heredia pulled his performance from a very deep place. He seemed to live the role, rather than act it; his pure voice has a lovely tonal quality. We particularly enjoyed his "De', miei bollenti spiriti". – Meche Kroop, Vocedimeche.com.

“Dominican tenor Jose Heredia as Violetta’s lover Alfredo has a powerful voice and elegant style. He was the first prize winner of the New Jersey Association of Verismo Opera 2014 International Vocal Competition and is clearly a talent to watch.”

– Mark Baker, The Epoch Times.