News

La BohÃ¨me, Teatro La Fenice (Venezia)

08.02.2024

“El Rodolfo de Celso Albelo se mostró de una curiosa madurez, como si llevara años cantando el papel, que le viene como anillo al dedo; sus agudos son solares mientras sus graves se proyectan con seguridad y aplomo ya desde su “Gelida manina”, emotiva y de sobrada potencia, con un fraseo siempre elegante. El suyo ha sido un debut pucciniano auspicioso”.
Ópera Actual

"Rodolfo est interprété par le ténor espagnol Celso Albelo. Son timbre brillant interpelle dès ses premières répliques, rehaussant sa prestance scénique avec un phrasé homogène et soigné. La précision des nuances et des mezza voce, tout comme les forte traduit son attention portée envers les contrastes vocaux, via une voix veloutée dans les passages plus confidentiels ou d’airain dans les moments où domine son caractère fougueux et impétueux".
Olyrix

Manon, Opera de Oviedo

18.09.2023

"Celso Albelo debutaba el caballero des Grieux; no hace mucho nos hicimos eco de otro debut importante en su carrera artística cual fue el Manrico verdiano y por entonces los parabienes fueron no pocos. Creo que Albelo es una de las voces más seguras y bien proyectadas de los escenarios actuales y este caballero francés –que ganará peso según el tenor moldee en el futuro su interpretación- respondió a estas características aunque percibí ciertas precauciones; y aunque la comparación pueda ser errónea, lo recibí menos seguro que con el papel verdiano. Que nadie entienda esto como una crítica negativa porque Albelo le dio al caballero el empaque suficiente para fusionarse con esa Manon impetuosa y así poder estar a su altura. Algún agudo tímido no empaña lo que fue una noche sobresaliente".
Platea Magazine (Spain)

"...Contó, además, con un complemento ideal en la vibrante exhibición vocal de Celso Albelo, Caballero Des Grieux también de soberbios resultados vocales y fervorosa interpretación dramática. Fueron una pareja ideal que, a buen seguro, seguirá creciendo artísticamente en las próximas funciones previstas".
Ópera Actual (Spain)

Il Trovatore, ABAO Bilbao Opera

30.05.2023

“Celso Albelo, que cantaba por primera vez el rol de Manrico, el trovador enamorado de Leonora, que rivaliza con el Conde Luna en el campo de batalla y también en el amoroso; un debut valiente y sin reservas; no le hizo falta bajar la partitura ni medio todo -como hacen algunos colegas legítimamente- para dar las notas más agudas de la aguerrida cabaletta “Di quella pira”; además, se mostró desenvuelto a lo largo de toda la representación; basculó con autoridad los pasajes más líricos y dramáticos…”
El Correo (España)

“El cantante canario tiene ya tras de sí una carrera con el suficiente peso como para suponer que cuando se ha decidido a dar el paso de cantar Manrico tiene las condiciones técnicas y físicas para ello. Y después de oírlo sólo cabe la opción de darle la razón. Su visión del personaje, tanto por sus características vocales como por su estilo propio, le distancian, en cierta medida, del Manrico que han cantado los tenores spinto de los últimos 70 años. Su enfoque se centra en el indudable influjo belcantitsta que impregna la partitura de Verdi y por ende su interpretación es más lírica y, añadiría yo, más fresca. Impecable en todo momento, con una proyección espectacular y con unos agudos restallantes y bellos, destacaría especialmente dos momentos de su intervención: la maravillosa aria Ah! sì, ben mio, coll'essere, previa a una espectacular Di quella pira (incluida una segunda vuelta con unas variaciones preciosas que pocos cantantes introducen en su interpretación), cantada con una clase y emoción poco frecuentes y todo el final en la Aljafería, en el que la escritura verdiana vuelve de una manera clara al belcantismo pero, indudablemente, ya abriendo nuevos caminos. En esa escena es donde Albelo demostró que su acercamiento al papel es totalmente honesto y lleno de posibilidades. Hay cosas que limar, por supuesto, pero estoy seguro que el tenor va a ser un referente en este papel en los próximos años”.
Platea Magzine (España)

“Celso Albelo triunfa en Bilbao en su debut como Manrico; ha confirmado, una vez más, el excelente momento de forma en el que se encuentra el cantante canario, que afrontaba con enorme riesgo esta incursión en el universo dramático verdiano. La voz de Celso Albelo brilló desde la romanza del primer acto, Deserto sulla terra, mostrando un timbre maravilloso y una gran musicalidad”.
Diario de Avisos (España)

“Celso Albelo abordó el papel con gran inteligencia, sin perder de vista sus propias cualidades y su estilo, presentando un Manrico lírico y siempre solvente en sus agudos. Muy ovacionado a lo largo y al término de la representación”.
Mundo Clásico (España)

“il debutto nella parte del protagonista Manrico del tenore di Tenerife Celso Albelo. Chi firma segue la sua carriera dagli albori, ed il ricordo corre ad un Rinuccio al Teatro Piccinni di Bari e poi al Nadir ascoltato a Trieste poco dopo… e son passati più di venti anni. Allievo di Carlo Bergonzi ed emulo del Canario per eccellenza in campo tenorile, Alfredo Kraus di cui ha ereditato la estensione e la tecnica canora, dotato di un timbro pregevole e di un colore inconfondibile, Albelo modestamente ammette di non aver mai fatto “il passo più lungo della gamba”, ma ha maturato negli anni un’evoluzione vocale che ora gli apre le porte al repertorio verdiano, in particolare del Verdi dei cosiddetti “anni di galera”, che va oltre i personaggi finora affrontati con successo: il Duca di Mantova ed Alfredo Germont. La voce del 46enne tenore è naturalmente evoluta ed egli può affrontare una parte ritenuta erroneamente appannaggio di voci “spinte”, trattandosi in realtà di un ruolo squisitamente lirico e pensato per lo stesso interprete del Duca in Rigoletto, mantenendo inalterata la proiezione in acuto, e non ci si riferisce solo al fatidico “Do di petto” non scritto lanciato e sostenuto con fulminea sicurezza sull’Allarmi che conclude la “pira” ripetuta e variata nelle due strofe, ma pure al Re sovracuto emesso a siglare il terzetto del primo atto. Ma ciò che pare notevolissima, già ai nastri di partenza di un debutto che presenta come è logico un buon margine di superazione in prossime ed ulteriori prove, è la presa del personaggio romantico, reso con adolescenziale e filiale trasporto nei confronti di Azucena, con romantico ed appassionato innamoramento verso Leonora (mirabile la cesellatura dell’Ah si ben mio che gli è valsa un’autentica ovazione), veemente e gagliardo verso il fratello rivale, Nuno Conte di Luna. Colori di una tavolozza ricchissima ed usata generosamente, con dinamica varia e fantasiosa, con un fraseggio ed un accento sempre motivati ed esemplari. Insomma, si è andati al di là delle più rosee ed affettuose previsioni, dettate certo da stima ed anche, perché negarlo, grande affetto.
I Teatri dell’Est / Opera senza confini (Italia)

"Albelo, uno de los tenores líricos más importantes del panorama internacional, afrontó el arriesgado reto de encarnar por primera vez el papel de Manrico, saliendo triunfador debido a un gran fraseo, unos poderosos agudos y un volumen vocal indiscutible. Impecable en la romanza del primer acto, ‘Deserto sulla terra’, llevó a los terrenos de lo lírico el aria ‘Ah! Si, ben mio’ del tercer acto. Su entrega y lucha durante toda la noche en la defensa del personaje fue encomiable, como quedó demostrado en la archiconocida cabaletta ‘Di quella pira’, cantada en su tono y coronada con una nota final que alargó una barbaridad. Para el recuerdo, sus prestaciones canoras en el ‘Miserere’ junto a Pirozzi y el magnífico Coro de la Ópera de Bilbao.
ProÓpera (México)

Macbeth, Gran Teatre del Liceu

18.02.2023

"El MacDuff de Celso Albelo, buscando siempre el recoveco, la expresividad propia en el decir, en una línea belcantista de la que bebe su personaje, recibiendo aplausos sinceros tras su aria"
Platea Magazine

"Celso Albelo, dibujó su Macduff con un canto que resultó ser el más aristocrático de todo el reparto, y su versión de “Ah, la paterna mano” fue justamente aplaudida".
Ópera Actual

"It was a luxury that a tenor the caliber of Spanish Celso Albelo, who has been singing leading tenor roles in all the major opera houses for years, agreed to sing the small and plain role of Macduff—though this character is essential for the plot, his character in the opera is not dramatically developed. Albelo has largely sung bel canto and French repertoire, and it showed in his magnificent interpretation of his aria, ‘Ah! La paterna mano.’ The audience was treated to his fiato and legato singing, continuous contrasting between fortes and pianos, attention to every single dynamic of the score, and awesome security singing in the passagio zone, even in mezza voce or when performing a diminuendo".
OperaWire

"...resaltó en cuanto a interpretación y resolución Celso Albelo como Macduff; limpio, potente y estimulante en sus líneas".
Bachtrack

“Celso Albelo (Macduff) impone su línea de canto y su clase en el aria estelar del último acto. Se notaba el cariño del Liceu al cantante canario”.
El Confidencial

Rigoletto, Palau de Les Arts, Valencia

El Periodico 12.05.2019

“One of the most internationally renowned singers shone in the role of the lecherous Duke of Mantua. The Spanish tenor Celso Albelo has a commanding and fully rounded young voice. His phrasing is always elegant, and his high notes are superb in this role which he knows like no other, as it is also one of the roles he has sung the most in his brilliant career. He will shortly sing it again in various cities in Japan on tour with the Bologna Teatro Comunale.”

Anna Bolena, Opera Liege, Liege

Con Voce in Opera 19.04.2019

Hamlet, Gran Teatre del Liceu, Barcelona

Opera Actual 01.04.2019

“It was a great luxury to have Celso Albelo in the role of Laërt. He got the most out of his opening cavatine and lent elegance to his last finale.”

Un ballo in maschera, Teatro San Carlo, Naples

Lâ€™Ape musicale 21.02.2019

“Celso Albelo gave us a Gustavo sung with great elegance, characterised by a beautiful tone and phrasing which is always carefully controlled, with luminous and rounded high notes.”

VerdiÂ´s Requiem, Tenerife Festival

Diario de Avisos 20.01.2019

"Celso Albelo sang his part almost effortlessly, showing the versatility that characterises him and guaranteeing that yet more will soon be added to his wide repertoire.".

Stabat Mater, Teatro Verdi, Florence

Operaclick 04.11.2018

“Among the soloists, the tenor Celso Albelo stood out, true to his reputation for his immaculate line, excellent legato, sense of style, wealth of dynamics and blatant confidence in the high register.”

I Puritani, Gran Teatre del Liceu, Barcelona

Codalario 16.10.2018

“Celso Albelo once again showed that Arturo in Puritani is his pet role. Albelo showed good taste and naturalness in his singing right from the sublime ‘A te, o cara’, although it was in the third act when he reached his height, as the tenor from Tenerife showed a good sense of legato, dominance over his own style and a very striking control of middle voice, piano, smorzature and regulation of sound, culminating in that spectacular duet ‘Vieni fra queste braccia’ in which he reached the high D twice, one of those in unison with the soprano”.

Romeo et Juliette, Teatro Calderon, Valladolid

Platea Magazine 08.05.2018

“Albelo continues to stand out, with strong, sparkling and easy high notes, although now these are wider and more ample and his voice sounds more lyrical. His Romeo is convincing through its romantic phrasing which is stylish and not cloying and very close to the text.”

La favorite, Maggio Musicale Fiorentino

Connessi all'Opera 22.02.2018

“Celso Albelo approaches the part of Fernand with elegance and sweetness […] his voice is clear, agile and flexible, his style is impeccable and his high notes are solid".

I Puritani, Montecarlo

Musicologie 04.12.2017

"Celso Albelo (Lord Arturo Talbo) and Annick Massis (Elvira) form a fantastic duo, which I was able to enjoy in the unforgettable Sonnambula in which both starred in 2013 in Monaco. Both singers showed their mastery over higher octaves, ornamenting them with D flats and E naturals, for which they were justly given huge applause, until they reached the end with the passionate “Credeasi, misera”. In "A te, o cara" in the first act, the tenor also faces content in a very high register, which later appears with similar inspiration in “La terra sua natale” in the final act; he continued with ardent passion in "Vieni fra queste braccia" until the end of the opera".

Lucrezia Borgia, A Coruña

El País 26.09.2017

“Celso Albelo was the hero of the night. His attitude, as well as or even more importantly than his singing, fully of beauty and passion, was a shining example of dedication and bravery. His vocal line was steady, his versatility was expressive, he can pass from heroic strength to extraordinary filature, showing the greatest tenderness.”

Concert homage to Alberto Zedda, A Coruña

Codalario 14.09.2017

“Celso Albelo's performance was highly acclaimed. Impetuous, passionate, his high notes were powerful. He has great vocal expressivity and controlled body language. He challenged us with his Non m'abbandonez pas... Asil hereditaire... Amis, amis, secondez ma vengeance, achieving total support for him”.

I Puritani, Savonlinna Opera Festival

El Mundo 02.08.2017

"Canarian tenor Celso Albelo and soprano Jessica Pratt took the greatest effusions for their performance as protagonists of the love drama between Arturo and Elvira"

Thais, Gran Teatre del Liceu

El País 04.03.2017

"The tenor Celso Albelo is outstanding, he sings the role of Nicias with musicality and effusive phrasing".

Thais, Gran Teatre del Liceu

El Periódico de Catalunya 04.03.2017

“Celso Albelo shone as Nicias, with beautiful singing and a sinuous operatic style”.

Rigoletto, Ópera de Oviedo

Codalario 01.02.2017

“Celso Albelo seemed to us to be the best among the cast. His style of phrasing is intelligent and clear and he reminds us of the art, in capital letters, of time gone by. What´s more, he has an extraordinary high register which he knows how to show off with good taste, even when the ends are not completely rounded. His final “e di pensier” was a scene that appeared to us to be exemplary and a proof of operatic art that places him among our most interesting singers".

Rigoletto, Ópera de Oviedo

El Comercio 27.01.2017

“Excellent debut from one of the greatest tenors of our time, very much applauded from beginning to end".

Werther, Teatro Comunale di Bologna

ABC 10.01.2017

"Celso Albelo impregnated his Italian debut in the role with madness and drama. His elegant phrasing is achieved through feeling as much as technique and his high notes are impressive for their beauty and volume. His mastery and his engagement gave superb results. This Canary Island Werther is here to stay".

Werther, Teatro Comunale di Bologna

Opera World 10.01.2017

"Celso Albelo gave us a complete and homogeneous Werther with vocal presence. He was given a standing ovation at the end of the performance".

Lucrezia Borgia, ABAO OLBE, Bilbao

Ópera Actual 25.10.2016

"Celso Albelo, making his debut as an unblemished Gennaro: beautiful voice, precise intonation, clean and powerful projection; his sustained high notes rang, crowning a splendid performance".

Lucrezia Borgia, ABAO OLBE, Bilbao

ABC 25.10.2016

"There was a standing ovation for Celso Albelo, who was extraordinary in the aria "T´amo qual s´ama un angelo" which is extremely challenging and within the full reach of only a handful of tenors, only the great ones like Albelo, who is now one of the Spanish voices with the greatest international presence. This new triumph for him in Bilbao was huge and very well deserved".

Recital "10 años en A Coruña"

La Razón 22.09.2016

"Albelo's performance is delicious, with its clarity and musicality. There was tenderness, feelings along with notes which were delicately legato and an admirable control and measure of dynamics, with gorgeous half-voices and filato".

Recital "10 años en A Coruña"

Codalario 22.09.2016

"His performance was a true demonstration of good taste, treating every nuance with special care. He has a sweet, warm and homogenous voice; powerful and heart-rending high notes, soft legatos, natural and fluid phrasing with great technical skill, alternating contrasting fragments with total confidence and eloquence. To conclude, Albelo in a pure state: vocal technique, expressivity, dramatism in his gestures, and complicity".

I Puritani, Teatro Real

Opera World 28.07.2016

"Celso Albelo is a gifted tenor who has sung the role of Arturo in many great opera houses. He has command over the role and sings it in an extraordinary way. As well as the beauty of his tone he also has exquisite musicality, perfect diction and a sense of singing which transmits very diverse emotions. His high notes are magnificent, also reaching the famous F natural in the last ensemble with no problem at all".

I Puritani, Teatro Real

Ópera Actual 28.07.2016

"The Canary Island tenor was dazzling, with melodious elegance, exquisite phrasing, considerable volume and great self-possession, maintaining the musical quality that the role of Arturo requires".

I Capuleti e i Montecchi, Gran Teatre del Liceu

Platea Magazine 27.05.2016

"The Canary Island singer showed why he is the Spanish singer on everybody´s lips. With natural delivery, secure technique, control over his instrument, ease in the high register, and impeccable line and characteristic colour and tone of voice".

I Capuleti e i Montecchi, Gran Teatre del Liceu

Ópera Actual 27.05.2016

"Celso Albelo was especially appreciated after his great first scene, with exquisite phrasing and considerable vocal presence".

Werther, Ópera de Tenerife

Ópera Actual 06.04.2016

"Celso Albelo achieved a great success from the public, especially for his spectacular second and third acts".

Maria Stuarda, Metropolitan Opera House

Latin Post 11.02.2016

"Celso Albelo was making his Met debut and he proved that he is a tenor to look out for... Albelo sang with ardor, every legato line polished and even sweetened by his beautiful timbre. During his early aria in Act one, his voice peaked on a piannisimo high note, an ethereal note that hung sublimely in the air, capturing the thrill of Donizetti's music".

Maria Stuarda, Metropolitan Opera House

The New York Times 03.02.2016

“The male roles were convincingly portrayed, with Celso Albelo a passionate Leicester”.

Maria Stuarda, Metropolitan Opera House

New York Classical Review 03.02.2016

“Celso Albelo made a fine debut as Leicester, giving a passionate account of the role, singing clearly and idiomatically.”

Maria Stuarda, Metropolitan Opera House

Parterre 03.02.2016

“Albelo sang firmly and tossed out secure pinging high notes. His voice’s appealing middle reminded me a lot of Alfred Kraus’s”.

Anna Bolena. Wiener Staatsoper

Der Neue Merker 10.10.2015

“Celso Albelo, a true bel-canto tenor, was totally convincing as Riccardo Percy. Stylistically he was at the highest level and he made a great impression in all his scenes.”

Rigoletto. Wiener Staatsoper

Ópera Actual 01.10.2015

“Celso Albelo was a first class Duke of Mantua; his singing was concentrated not only on the high notes but also on a flawless line, with lavish diminuendi and piani”

Stabat Mater. Quincena Musical. San Sebastián

Forum Opéra 25.08.2015

“True to his performances of Arnold (Guillaume Tell) in Monte Carlo and Paris at the beginning of the year, Celso Albelo did not falter at any of the most risky notes in Cujus animam, all of them were executed with chest voice, without allowing an excess of heroism to impede the flow of feelings”.

I Puritani. Victorian Opera. Melbourne

ConcertoNet 02.07.2015

"Celso Albelo brought a huge variety of experience to the podium and delivered an Arturo who is every centimetre the hero of the piece. His voice is immense yet despite this he demonstrated superb control in ensembles. His solos were marvellous. His ringing top notes, crystal clear diction and complete fearlessness when reaching into a remarkable upper register made this an exhilarating performance and one which brought ripples of thrills throughout the audience. He is the shining knight and even without staging to support his interpretation, we were absolutely convinced of his power of attraction, tender affection and authority"

Anna Bolena. Wiener Staatsoper

23.04.2015

"Celso Albelo is an optimum Lord Riccardo Percy, with sfumature, middle voice and impressive squillo. The Spanish tenor´s resonant ease does not confuse the listener due to his perfect projection"

L'Elisir d'amore. Teatro Comunale di Modena

17.03.2015

"Celso Albelo: a fresh and communicative Nemorino he was, but without overacting, capable of smorzature and half voices. He got huge applause after “Una furtiva lagrima” reaching two explosive high Cs in his duet with Belcore, he inflamed the auditorium with passion, giving one of the most convincing performances of this character of modern times."

Guillaume Tell. Opéra de Monte-Carlo

Opéra Online 28.01.2015

“In the role of Arnold, the Canary Island tenor Celso Albelo thrilled with spectacular performance and capacity. This young tenor – who brings back the ideal of Romantic vocality to our contemporary ears – displayed his perfect knowledge of the style: his ease in the higher registers was more than obvious, seducing with his tone and surprising the audience in the famous aria Amis, amis, secondez ma vengeance”.

Luisa Fernanda. Palau de les Arts Reina Sofía. Valencia

Codalario 23.12.2014

"Celso Albelomadehis debut in this role withundoubtableaplomb. As well as his vocal savoir faire, full of little details like that diminuendo at the end of the duet with Carolina, we can add a good measure of stage presence and his precise phrasing"

Homage to Alfredo Kraus. Teatro Pérez Galdós. Las Palmas de Gran Canaria

La Provincia 29.11.2014

"Celso Albelo gave us quite a recital:with full control over all the facets of his art, in all registers, with great legato, control of dynamics, with both forte and piano high notes, and, especially, with great expression"

Roberto Devereux. Wiener Staatsoper

Ópera Actual 02.11.2014

"Celso Albelo gave us a virile Devereux, showing himself able to sing piano and mezza voce with a spectacular resolution of his cabaletta with a brilliant D natural"

La Traviata. Ópera de A Coruña

Ópera Actual 01.10.2014

“CelsoAlbelo... was making his European debut in the role of Alfredo and promises some great nights ahead. With his roots in bel canto, this Canary Island tenor´s performance owes its strength to the elegance of his singing, his phrasing, his musicality and to a voice whose centre is getting steadily rounder and more resonant"

La fille du régiment. Teatro Massimo. Palermo

Il Giornale di Sicilia 23.09.2014

"CelsoAlbeloportrays a cheerful and simpleTonio, with moments of full voice which reveal his solid body and control"

Roberto Devereux. Maggio Musicale Fiorentino

Firenze Post 19.05.2014

"A specialist in early 19th century repertoire, the tenor CelsoAlbelowas outstanding, with his smooth and elegant voice. His high notes also shone, especially in Roberto´s aria in the third act".

I Puritani. ACO (Las Palmas de Gran Canaria)

La Provincia 29.04.2014

"It was a great night for Celso Albelo, the internationally acclaimed tenor from La Laguna, Tenerife, who returned to Las Palmas at a time when he was not just sweet, but even splendid in voice and line. He is unique in his tessitura on the international panorama in combining colour and “di grazia” elasticity with the consistency of pure opera and the almost “spinto” strength of the extremely high notes, prolonged tirelessly with an unrivalled firmness and sureness"

I Puritani. ABAO-OLBE (Bilbao)

Diario Vasco 07.04.2014

“What Celso Albelo did was really memorable: he gave us a gift of the purist bel canto with refined technique, a smooth line, a secure centre and the exact high notes that Bellini wrote down”

Roberto Devereux.Festivalde Ópera de Tenerife

Ópera Actual 01.03.2014

"Celso Albelo (Count Essex) displayed his powerful tenor range, he has a very substantial high register."

La sonnambula. Gran Teatre del Liceu. Barcelona

ABC 30.01.2014

“Celso Albelo displayed the soundness of his extrovert, brilliant and flawless singing”.

New Year's Concert. Teatro de La Zarzuela. Madrid

La Razón 03.01.2014

“Celso Albelo gave generous proof of his engagement and dedication… his high notes, middle range and the way he ended his notes were admirable”.

L'Elisir d'amore. Teatro Real de Madrid

Ópera Actual 01.01.2014

“This was the first time Celso Albelo had performed the role in Madrid and it was obvious why his Nemorino is so prized: with impeccable taste, an extraordinary command of his vocal resources”.

Verdi Concert. Palau de la Música de Valencia

Levante 11.11.2013

“The tenor Celso Albelo’s debut in Valencia came off with enormous and justified success…. …his tone is clear, the vocal flow is dense and his legato is of great smoothness. In his articulation technique we find conjoined a conception of phrasing in total service to the music and the words and the result is the greatest warmth of expression”.

Rossenblatt Recitals. London

18.09.2013

"He has an interesting lyric tenor voice, very characterful with strong spinto hints. He has a nice firm middle and lower register, with an enviable consistency throughout the range. It is rather a high tension voice and his upper notes, when sung full chest, were spectacular in their power".
Planet Hugill

"Albelo is plainly a born communicator - but also captures the emotional mood of a piece in all its subtle variations from moment-to-moment by the most refined use of dynamic shading. He has the ability to tell a story, and colour it accordingly".
Opera Britannia

Lucia di Lammermoor. Festival de Ópera de A Coruña

La Razón 14.09.2013

“In Celso Albelo singing and theatre are paired in a real treat of an Edgardo, a role which has the particular virtue of being designed to suit him perfectly”.

Recital. Rossini Opera Festival (ROF)

GB OPERA 26.08.2013

"Celso Albelo’s voice shows great musicality, vibrancy and richness in harmonics. It is solid and has body, attractive and never affected, committed to “sul fiato” singing, as if he wished to dilate the lightness of the phrasing and the diverse musical lines to the maximum."

Rigoletto - Teatro de La Maestranza - Sevilla

El Correo de Andalucía 21.06.2013

"Without over-acting, the Canarian Celso Albelo manage to give the Duke of Mantua the despicable, overbearing and arrogant edge that the role requires, being supported by a captivating, firm and secure voice, so suitable for the repertoire."

Rigoletto. Teatro Giuseppe Verdi de Salerno

Positano News 18.04.2013

“Celso Albelo, with a voice of consistantly great scope, sang La donna e mobile firmly and Parmi veder le lagrime incicively. "

Marina. Teatro de La Zarzuela

Opéra Actual 01.04.2013

“Celso Albelo shone although he had an extremely difficult task, partly because everybody is reminded of one of the great star tenors of the 20th Century in this role: Albelo performed “Krausishly” –in a good sense–, with elegance, a crystalline line and perfect control.”

La sonnambula. Opéra de Montecarlo

Christian Colombeau, Le Podcast Journal 25.02.2013

“Celso Albelo, a mixture of Kraus, Vanzo, Gedda, Monti! A voice with naturally beautiful resources, attractive bel canto phrasing, generous, electrifying, fresh and winning.”

Lucia di Lammermoor. Deutsche Oper Berlin

Ursula Wiegand. Der Neue Merker 27.12.2012

“The Spanish Celso Albelo as Edgardo, Lucia’s secret lover, was a pleasant surprise; a tenor with a radiant voice, able to bring out the most delicate nuances and who is also a convincing actor”.

Rubén Martínez, CODALARIO 07.11.2012

“Celso Albelo gave a great portrayal of the character, he was believable on stage, likeable and naive, he captured the freshness, youth and ingenuousness of the character perfectly. He had an optimum understanding with his partner, the Sicilian soprano Desirée Rancatore. Albelo´s colour, projection and phrasing were especially comfortable in the language of Voltaire… He was able to bring off his most awaited moment spectacularly, the scene Ah, mes amis- Pour mon ame”.

Recital in aid of the Victoria de los Ángeles Foundation. Teatro de la Zarzuela. Madrid

Gonzalo Alonso, Beckmesser 31.10.2012

“Celso Albelo, in a magnificent moment, captivated the auditorium with the delicacy of songs such as “El árbol del olvido” by Ginastera, the strength of the folk song “Trust de los tenorios”, the good phrasing of the aria “Doña Francisquita”, the poetry of the “Lamento de Federico” and the spectacular “Ah! Mes amis” and “La hija del regimiento”, which was converted by him into an incredible succesion of Cs, delivered with incredible ease and with more body than is usual for those who normally sing this light repertoire”.

Rigoletto in the Verdi Festival in Parma 2012

Patrizia Monteverdi. Operaclick 30.10.2012

"Celso Albelo´s clear and elegant vocal line ennobles the figure of the Duke of Mantua, greatly softening the dissolute side of his character".

Operatic Gala. Tenerife Opera Festival

El Día 29.10.2012

"Celso Albelo took on the difficult challenges of the program with astonishing confidence and presence. He tackled each aria with uncommon strength, total engagement, exceeding all expectations"

L’elisir d’amore.Wiener Staatsoper.September 2012

Peter SKOREPA, Der Neue Merker 06.09.2012

A new great tenor

“The young tenor from Santa Cruz, Tenerife looks sweet and charming… with a figure which calls a young Domingo or Pavarotti to mind. Last night Celso Albelo won the audience’s favour, just as his Nemorino won over an impetuous lover with his wide register of sounds, which brought tears to Adina’s eyes. The study he has done with Carlo Bergonzi is evident, and was put to the test in this brilliant performance, with a tone reminiscent of Schipa or Tagliavini; he has a voice with which he can regulate to create multiple effects”.

Don Pasquale. Teatro alla Scala. Milan. July 2012

Francesco Gala, Il Corriere musicale 03.07.2012

“The best moments of the evening came from Celso Albelo, thanks to his homogeneous voice, with which he sustains a clear vocal line and eloquent phrasing”.

L'Elisir d'amore. Teatro Massimo. Palermo. June 2012

Sicilia Informazioni 14.06.2012

“Celso Albelo plays the ingenuous Nemorino not without irony or elegance, highligting his chrystalline phrasing with balance and intelligence”.

Les Pêcheurs de Perles. Salerno. May 2012

GB Opera 16.05.2012

“Celso Albelo is one of the latest generation of tenors most in vogue, and with good reason: above all he has an enviable tone, a wealth of technique and honed and well-projected high notes”.

L'Elisir d'amore. ABAO. Bilbao. February 2012

Emecé.Diario Vasco 23.02.2012

“Celso Albelo is a promising young talent – who has already consolidated his career – and the role of Nemorino suits him to a T. His 'Furtiva lacrima' was brilliant and moving, sung with taste and much care of the passagio”

Recital, Teatro Filarmónico, Oviedo. November 2011

Aurelio M. Seco, La Voz de Asturias 28.11.2011

“The Canarian tenor was not to be outdone and gave a spectacular opening to the recital, with a confident, refined and sensitive “Ah, mes amis”. This was followed by an exciting “Una furtiva lacrima” full of finesse. His technical capacity was astonishing, which allowed him to take on the
extra high D in the aria “Vivi tu” from “Anna Bolena”, with a confidence that few singers are in a condition to offer”.

Recital, Teatro Filarmónico, Oviedo. November 2011

Ramón Avelló, El Comercio 28.11.2011

“The tenor Celso Albelo fulfilled his mission both with bel-canto subtlety and feeling. He has a light lyrical tenor voice. Brilliant high notes, but with a vocal density that adds lyricism. Subtleties in the shades, with control over intensity, a very well regulated “middle voice” and a very beautiful tonal colour, especially in 'Una furtiva lacrima', which was very much “bravoed” by the audience, these are some of the qualities this young Canarian tenor has".

La Sonnambula. Royal Opera House, London. November 2011

Mark Ronan Blog 04.11.2011

"Spanish tenor Celso Albelo was terrific as Elvino, being on top form from beginning to end, and giving serious meaning to the term bel canto".

La Sonnambula. Royal Opera House, London. November 2011

Financial Times, Richard Fairman 03.11.2011

"Celso Albelo matches her with a firm, bright, youthful voice that hardly ever sounds forced or stretched, even when he reaches up to a high D...so well-schooled a young tenor is highly promising".

L’elisir d’amore. Palacio de la Ópera de La Coruña, October 2011

Julio Andrade, La Opinión 16.10.2011

“La Coruña opera goers adore Celso Albelo for his beautiful voice, perfect phrasing and his generosity in the high register; his version of Una furtiva lacrima, was lovely, and he played beautifully with the intensity”.

I puritani. Bunka Kaikan. Tokyo

Kazuo Ehara, Periódico Sankei 25.09.2011

“Celso Albelo was splendid and moved the audience”

L'elisir d'amore, Pérez Galdós Theatre, Las Palmas (Canary Islands,Spain)

Andrea MERLI, rivista L'Opera 03.07.2011

"The tenor Celso Albelo has taken over the Donizetti role with impeccable vocal authority and entertaining acting. His Nemorino is madly in love from the start of the opera, as attested by the aria Quant'è bella, quant'è cara which he sings in a tone which does justice to the piece. He has an innate sense of comedy and is helped by a figure which stands out for its height and large girth. He fills the character with warmth, making the audience laugh in Esulti pur la barbara and managing to move at the same time with his intense and touching Adina credimi. The audience exploded into shouts of "bravo" in their requests for an encore (not granted) after Furtiva lagrima which was performed with an exquisite range of colours, gorgeous shaping of the voice and full of feeling".

L'Elisir d'amore. Teatro Pérez Galdós. Las Palmas de Gran Canaria

G. GARCÍA-ALCALDE. La Provincia. 07.05.2011

"With his wonderful, weightless voice, a real gift from nature, in the aria "una furtiva lagrima" Albelo displayed perfect singing in his volume control, dynamics, phrasing, diction and sensibility, as well as the natural elegance of vocalisation and colour so reminiscent of Kraus".

I Puritani by Bellini. Teatro Giuseppe Verdi. Salerno

Bruno TREDICINE. Operaclick 25.04.2011

"The Spanish tenor did not cut out a single one of the terribly high notes in the score, accomplishing them with self-assurance and ease. Albelo has placed himself at the highest level in the history of performance of this opera. Throughout his performance, the singer displayed his beautiful and seductive tone, his vocal musicality, which was fluid and totally "sul fiato" and with consistently passionate accenting. The scene at the opening of the third act was shining example, executed with a delicacy and shading of vocal colours which, with apologies to other singers of the role of Arturo was an exemplary rendition".

I Puritani by Bellini. Teatro Giuseppe Verdi. Salerno

Dario ASCOLI. Oltrecultura 25.04.2011

"Celso is an artist of planetary stature, the delightful singer boasts a very high range and brought off some extremely high notes with surprising ease and rounded tone".

I Puritani by Bellini. Teatro Giuseppe Verdi. Salerno

Enrico STINCHELLI blog 15.04.2011

"Magnificent Bel Canto tenor"

Rigoletto by Verdi, Opera de Monte-Carlo. March 2011

Emmanuel ANDRIEU. Forumopera 03.04.2011

"The other revelation was the duke, sung by the young Canarian tenor Celso Albelo. His tone is clear, brilliant and bright, beguiling from the star. The high notes are projected with an incredible insolence and ease and the elegance of his phrasing is exemplary. The aria "Bella figlia dell'amore" is sublime in its attention to detail and light. The quality of his singing makes him one of the best Dukes at the current time".