Guido B.

LeBrón

78 Law Street
Valley Stream
NY 11580
Tel: 607-240-8398
Email: guidolebron@yahoo.com
www.guidolebron.com

Educación universitaria

2016
Maestría en Música, M.M. Opera Performance, Binghamton University, New York

1998
Artist Diploma, Tri Cities Opera Resident Artist Program, Binghamton, New York

1987
Maestría en Teatro, M.A. Theatre, Binghamton University, New York

1985
Licenciatura en Teatro, B.A. Theatre, Fordham University at Lincoln Center, New York

Experiencia administrativa profesional

2001-206
Director Artístico, Opera Cabaret of Endicott, New York
-desarrollo e implementación de visión artística y foco
-captación de fondos y desarrollo de presupuesto anual
-contratación, supervisión y evaluación de personal artístico y técnico

Experiencia académica profesional

2016
Festival de Canto Operístico de Aguascalientes, Aguascalientes, México
-"Falstaff" de Verdi, director de escena & diseño de producción
-Técnica vocal, interpretación, dicción, repertorio, actuación, movimiento escénico
2015
Festival Internacional de Ópera y Zarzuela, Guanajuato, México
-Seminarios y lecturas
-Técnica vocal, interpretación, dicción, repertorio, actuación, movimiento escénico
-Clase Magistral en técnica vocal, interpretación, movimiento escénico y actuación

2015
Universidad de las Artes, Aguascalientes, México, Centro de Estudios Musicales M. Ponce
-Seminarios y lecturas
-Técnica vocal, interpretación, dicción, repertorio, actuación, movimiento escénico

2015
Universidad de Costa Rica
-Clase Magistral en técnica vocal, interpretación, movimiento escénico y actuación

2015
Universidad Nacional de Costa Rica
-Clase Magistral en técnica vocal, interpretación, movimiento escénico y actuación

2014
Binghamton University, New York
-Clase Magistral en técnica vocal, interpretación, movimiento escénico y actuación

2014
Universidad de Costa Rica
-Clase Magistral en técnica vocal, interpretación, movimiento escénico y actuación

2014
Festival internacional de Ópera y Zarzuela, Guanajuato, México
-Seminarios y lecturas
-Técnica vocal, interpretación, dicción, repertorio, actuación, movimiento escénico
-Clase Magistral en técnica vocal, interpretación, movimiento escénico y actuación

2013
Ópera Nova, Curso Internacional de Ópera, Santa Ana, Costa Rica
-Seminarios y lecturas
-Técnica vocal, interpretación, dicción, repertorio, actuación, movimiento escénico
-Clase Magistral en técnica vocal, interpretación, movimiento escénico y actuación

2003 Universidad de Costa Rica

-Clase Magistral en técnica vocal, interpretación, movimiento escénico y actuación
Experiencia artística profesional

Ópera

2016 Rigoletto Rigoletto Anchorage Opera

2016 Scarpia Tosca Mendoza, Argentina
2015 Capulet Roméo et Juliette Maryland Lyric Opera
2015 Escamillo Carmen Anchorage Opera
2014 Rigoletto Rigoletto Tri Cities Opera, NY
2014 Tonio Pagliacci Maryland Lyric Opera
2014 Alfio Cavalleria Rusticana Maryland Lyric Opera
2014 Tonio Pagliacci Opera Naples
2013 Falstaff Falstaff Opera in the Heights
2013 Governor Cofresí (Hernández) Bellas Artes, Puerto Rico
2012 Rigoletto Rigoletto Opera Saratoga
2012 Rigoletto Rigoletto Utah Opera
2011 Scarpia Tosca Dicapo Opera, NYC
2011 Tonio Pagliacci Opera Fargo
2011 Germont La Traviata Tri Cities Opera, NY
2010 Cristian de la Cruz Río de Sangre (Davis) Florentine Opera
2010 Scarpia Tosca Tri Cities Opera, NY
2010 Scarpia Tosca Teatro de la Ópera, Puerto Rico
2009 Marcello La Bohème Ópera de Puerto Rico
2009 Valentin Faust Opera Tampa
2009 Marcello La Bohème Teatro Nacional de Nicaragua
2009 Conte di Luna Il Trovatore Atlanta Opera
2008 Sharpless Madama Butterfly Florentine Opera
2008 Enrico Lucia Di Lammermoor Ópera de Puerto Rico
2008 Scarpia Tosca Opera Tampa
2008 Belcore L'Elisir D'Amore Ópera de Puerto Rico
2008 Scarpia Tosca Utah Opera
2007 Marcello La Bohème Opera Tampa
2007 Michelle Il Tabarro Ópera de Puerto Rico
2007 Fernán Macias (Gutiérrez) Festival Iberoamericano, SJ, Puerto Rico
2007 Figaro Il Barbiere di Siviglia Ópera al Fresco, Puerto Rico
2007 Conte di Luna Il Trovatore Opera Tampa
2007 Vanzetti Sacco e Vanzetti (Coppola) Opera Tampa
2006 Rigoletto Rigoletto Madison Opera
2006 Sharpless Madama Butterfly Ópera de Puerto Rico
2006 Amonasro Aida Florentine Opera
2006 Alfio Cavalleria Rusticana Connecticut Opera
2005 Germont La Traviata Atlanta Opera
2005 Sharpless Madama Butterfly, Teatro Nacional, Costa Rica
2005 Scarpia Tosca Washington National Opera, Kennedy Center
2005 Escamillo Carmen Nashville Opera
2005 Valentin Faust Palm Beach Opera
2004 Scarpia Tosca San Francisco Opera
2004 Rigoletto Rigoletto Teatro Nacional, Costa Rica
Ópera cont.

2004 Jack Rance La Fanciulla del West Utah Opera

2003 Germont La Traviata Florentine Opera
2003 Escamillo Carmen Teatro Nacional, Costa Rica
2003 Rigoletto Rigoletto Tri Cities Opera, NY
2003 Gérard Andrea Chénier Virginia Opera
2002 Germont La Traviata Nashville Opera
2002 Marcello La Bohème Tulsa Opera
2002 Scarpia Tosca Teatro Nacional, Costa Rica
2002 Wolfram Tannhäuser Palm Beach Opera
2001 Scarpia Tosca Virginia Opera
2000 Ping Turandot Tulsa Opera
2000 Germont La Traviata Lieja, Bélgica
2000 Riccardo I Puritani Washington National Opera, Kennedy Center
1999 Escamillo Carmen Tulsa Opera
1998 The Poet Kismet (Forrest) Tri Cities Opera,NY
1998 Renato Un Ballo in Maschera Teatro de la Ópera, Puerto Rico
1998 Germont La Traviata Tri Cities Opera, NY
1997 Il Conte Le Nozze di Figaro Tri Cities Opera, NY
1997 Enrico Lucia di Lammermoor Teatro Nacional, Costa Rica
1996 Dancairo Carmen Metropolitan Opera, NY
1996 Rigoletto Rigoletto Tri Cities Opera, NY
1996 The Villians Les Contes d'Hoffmann Tri Cities Opera, NY
1995 Enrico Lucia di Lammermoor Knoxville Opera
1995 Dancairo Carmen Metropolitan Opera, NY
1994 Colline La Bohème (Leoncavallo) Wexford Festival, Ireland
1994 Angelo Das Liebesverbot Wexford Festival, Ireland
1994 Valentin Faust Tri Cities Opera, NY
1994 Germont La Traviata Teatro Principal, Palma de Mallorca, España
1994 Monterone Rigoletto Santiago de Compostela, España
1993 Marullo Rigoletto Teatro Arriaga, Bilbao, España
1993 Escamillo Carmen Tri Cities Opera, NY
1992 Belcore L'Elisir D'Amore Tri Cities Opera, NY
1992 Figaro Le Nozze di Figaro Tri Cities Opera, NY
1992 Marcello La Bohème Tri Cities Opera, NY
1991 Germont La Traviata Tri Cities Opera, NY
1991 Dr Falke Die Fledermaus Tri Cities Opera, NY
1990 Papageno Die Zauberflöte Tri Cities Opera, NY
1990 Mercutio Roméo et Juliette Tri Cities Opera, NY
1989 Marullo Rigoletto Tri Cities Opera, NY
1989 Sharpless Madama Butterfly Tri Cities Opera, NY
1989 Schicci Gianni Schicchi Tri Cities Opera, NY
1988 The Poet Kismet Tri Cities Opera, NY
1988 Abimélech Samson et Dalila Tri Cities Opera, NY
1988 Masetto Don Giovanni Tri Cities Opera, NY
Concierto

2015 Concierto de Ópera Festival Internacional de Ópera y Zarzuela Guanajuato, México

2015 Concierto de Zarzuela Orquesta Filarmónica de Puerto Rico
2015 Duruflé's Requiem Orquesta Sinfónica Nacional de Costa Rica
2014 Concierto de Ópera Festival Internacional de Ópera y Zarzuela Guanajuato, México
2014 Rückert Lieder de Mahler Orquesta Sinfónica Nacional de Costa Rica
2014 La Leyenda del Beso Orquesta Sinfónica de Puerto Rico
2013 Gala Lírica Teatro Raúl Juliá, Puerto Rico
2011 Concierto de Navidad Orquesta Sinfónica de Puerto Rico
2011 Concierto de Zarzuela Orquesta Sinfónica de Puerto Rico
2010 Concierto de Ópera Mississippi Opera Orchestra
2008 Missa Latina Pro Pax (Sierra) Orquesta Sinfónica de Puerto Rico
2008 Concierto de Ópera y Zarzuela Binghamton Philharmonic
2007 Haydn's Die Shöpfung Orquesta Sinfónica Nacional de Costa Rica
2007 Concierto de Ópera Orquesta Sinfónica de Santo Domingo
2006 Beethoven's Symphony #9 Eugene Symphony Orchestra
2006 Opera Concert Madison Symphony Orchestra
2006 Brahm's Ein deutsches Requiem Eugene Symphony Orchestra
2004 La Fanciulla del West Opera Orchestra of New York, Carnegie Hall
2000 Anniversary Gala Concert L'Opéra de Montréal
1999 50th Anniversary Gala Tri Cities Opera
1991 Porgy & Bess Suite Binghamton Philharmonic

Zarzuela y opereta

2013 Gobernador Cofresí (Hernández) Bellas Artes, Puerto Rico

2012 Juan Los Gavilanes Fundación Puertorriqueña de Zarzuela y Opereta
2005 Joaquín La del Manojo de Rosas Fundación Puertorriqueña de Zarzuela y Opereta
2004 Juan Los Gavilanes Pro Arte Lírico, Puerto Rico
2002 Germán La del Soto del Parral Fundación Puertorriqueña de Zarzuela y Opereta
2002 Octavio La Duquesa del Tabarín Pro Arte Lírico, Puerto Rico
2001 Mario La Leyenda del Beso Pro Arte Lírico, Puerto Rico
2000 Danilo La Viuda Alegre Fundación Puertorriqueña de Zarzuela y Opereta
1999 Juan Los Gavilanes Fundación Puertorriqueña de Zarzuela y Opereta
1998 Juan de Eguía La Tabernera del Puerto Pro Arte Lírico, Puerto Rico

Teatro musical

1998 The Poet Kismet Tri Cities Opera, NY

1990 Monsier Beaunoir The New Moon Tri Cities Opera, NY
1988 Mr Bumble Oliver! The Cider Mill Playhouse, Endicott, NY
1988 The Poet Kismet Tri Cities Opera, NY
1986 Alfred P. Doolittle My Fair Lady Teatro Braulio Castillo, Puerto Rico
1986 King The King and I Anderson Center for the Performing Arts, Binghamton, NY
1982 Cervantes/Quixote Man of La Mancha Teatro Lírico de la Salle, Puerto Rico
1981 Tevye Fiddler on the Roof Teatro Lírico de la Salle, Puerto Rico
1980 Alfred P. Doolittle My Fair Lady Teatro Lírico de la Salle, Puerto Rico
1979 Tom Trainor No, No Nanette Teatro Lírico de la Salle, Puerto Rico
Premios, becas y subvenciones

2016
Premio Canto Operístico, Premios Culturales, Instituto de Puerto Rico, NYC

2013
Nominado al Grammy Latino, Mejor Album Clásico, rol del Gobernador en opereta Cofresí de
Rafael Hernández

2012
Premio Grammy, Mejor Producción Album Clásico, rol protagónico de Cristian de la Cruz en
ópera Río de Sangre de Don Davis

1994
The Sullivan Foundation Award, NYC

1993
Tri Cities Opera Savoca/Hibbitt Foundation Grant, Binghamton, NY

1992-1997
Role Preparation Grants, The Sullivan Foundation, NYC

1991
The Richard F. Gold Career Grant, The Shoshana Foundation, NYC

1990-1992
Tri Cities Opera Guild Scholarship, Binghamton, NY

1987-1990
The Clifford D. Clark Fellowship, State University of New York, Binghamton, NY

1985-1987
State University of New York Scholarship, Binghamton, NY

Maestros de voz/coaches

1998-2014 Arman Boyajian

1987-2013 Diane Richardson (coach)

1998 Oscar Scaglioni

1987-1997 Carmen Savoca and Peyton Hibbitt

1987-1997 Duane Skrabalak (coach)

Críticas

As Falstaff

D.L. Groover, HOUSTON PRESS / Opera in the Heights

"The utter delight of the evening is the discovery of baritone Guido LeBrón, who truly can be
said to ‘own’ this role of the self-deluded, gluttonous fat knight. His deep, sonorous baritone
spreads through Lambert Hall like honeyed mead, thick and rich and immediately tactile. LeBrón
plays comic business with the finesse of W.C. Fields. He doesn't make a big deal out of it, which
makes it funnier, all while he's singing Verdi with supreme control and exquisite diction. It's a
defining interpretation; without question, one of the best sung ‘potbellies’ I've ever heard.”

David Clarke, OPERA WORLD / Opera in the Heights

"Guido LeBrón could not be better cast as Sir John Falstaff. He pristinely sings the role, infusing
it with miraculous wit, perfected comedic timing, and remarkable facial expressions. His Falstaff
is so efficaciously hilarious and confident that the audience cannot help but fall for him. His
baritone instrument is robust and full of life, which makes the performance all the more
invigorating for the audience."

Sydney Boyd, ARTS & CULTURE TEXAS / Opera in the Heights

"Baritone Guido LeBrón owned the role of the gluttonous Sir John Falstaff in his Oh! debut. His
rotund character aside, his voice has a hearty substance—a full, rich tone that never faltered."

As Rigoletto

Mark Thomas Ketterson, OPERA NEWS / Madison Opera

"But Rigoletto is, after all, titled after its baritone antihero, and Guido LeBrón achieved the
required centrality. His sensitive application of his bronze-velvet timbre appropriately highlighted
the vulnerability behind the mask of the jester – the juxtaposition of his vehement ‘Cortigiani’
with a poignantly desperate solicitation of Marullo’s empathy typified LeBrón’s highly intelligent
and effective work."

Alan Fischler, OPERA NEWS / Tri-Cities Opera

"LeBrón’s homecoming to Tri-Cities Opera was greatly anticipated, and few who heard him sing
the title role in Rigoletto can have left the Forum Theatre disappointed. His voice has superstar
potential and he is able to sustain long bel canto lines with tonal purity, filling the house with
power to spare."

Sherri Strichman, BROOME ARTS MIRROR / Tri-Cities Opera

"In the title role, Guido LeBrón gave a solid performance from start to finish. The TCO alumnus’
powerful voice conveyed cruel wit, tenderness, triumph, suspicion and fear in a myriad of vocal
colors without ever sacrificing the beauty of his instrument. The “Cortigiani”of Act 2 was a
masterful pleading for the return of his daughter."

Catherine Reese Newton, THE SALT LAKE TRIBUNE / Utah Opera

"LeBrón's was chillingly convincing as the nasty 'insult comic' in the Duke's court."
Daryl Bullis, DarylBullis.com / Opera Saratoga
"Guido LeBrón has a dark and flexible voice, which is perfect for Rigoletto. He acted the fool
with ease and sang with passion and conviction. This is a role in which Mr. LeBrón is quickly
making a name for himself and I am looking forward to seeing him in other roles that would be
well suited to his instrument (Jack Rance in La fanciulla del West, Michel in Il tabarro, or even
Wolfram in Tannhäuser perhaps)."

Geraldine Freedman, THE DAILY GAZETTE / Opera Saratoga

"As Rigoletto, baritone Guido LeBrón is an experienced hand [...] His dark, smooth and
lusciously rich voice carved out his many arias with great control."

Michael Muckian, THE CAPITAL TIMES / Madison Opera

"As Rigoletto, LeBrón delivered an exceptional performance of the high-baritone role, largely
seen as a difficult one to master…LeBrón gathers our sympathy, delivering a strong
performance that earned its own 'bravos'."

John Aehl, THE WISCONSIN STATE JOURNAL / Madison Opera

"...Rigoletto has the primary responsibility of holding things together. And here this production
struck gold. Guido LeBrón not only sang with a consistently powerful and deep baritone – a
Verdi baritone with a solid top – he was well nigh perfect in appearance, with his misshapen
body and angular, off-center gate and in acting the many faceted part of malicious jester,
obsessively adoring father, pleading sycophant, raging avenger and broken old man. LeBrón’s
duets with …Gilda, were never less than touching and often riveting."

Andrés Sáenz, LA NACIÓN / National Theater, Costa Rica

"In the first place, baritone Guido LeBrón, known and admired by the Costa Rican audiences,
composed the title role with a precise sense of histrionics and convincing gesticulation; his vocal
delivery was solid, secure and variegated.”

Sara D'Esti Miller, PRESS & SUN-BULLETIN / Tri-Cities Opera

"As the title character, baritone Guido LeBrón is nothing short of amazing... LeBrón is a
powerhouse combination of strong vocal talent and excellent acting ability.”

Stephen Landesman, ITHACA JOURNAL / Tri-Cities Opera

"Baritone Guido LeBrón reprised his 1996 portrayal of Verdi’s deformed jester with dramatic
force and fine vocal phrasing. From his deeply resonant and sustained ‘voi congiuraste contro
noi’ to his final cry of ‘la maledizione’, LeBrón gave an exemplary vocal performance. His Act I
afterthought on his first encounter with Sparafucile (‘Pari siamo’) was crisp and powerful, and
his second-act outburst (‘Cortigiani’) to the cynical courtiers was sung with just the right mixture
of anger and pathos ending in a heartbreaking ‘tutto al mondo tal figlia’.”

As Scarpia in Tosca

Joseph McLellan, THE WASHINGTON POST / Virginia Opera

"As Scarpia, Guido LeBrón struck the right note of implacably scheming evil, a Darth Vader of
the year 1800. His opposition to Tosca generated a fascinating dramatic tension
John Shulson, WHRO-FM (PBS) / Virginia Opera
"LeBrón’s delivery of the role was simply wonderful. It was a dramatic and, at times, poignant
portrayal that found his moments on stage riveting. Fine acting and vocal touches added
nuance to this complex character and made him mightily compelling. I venture to suggest that
you’d have to look far to find a Scarpia that was as rounded and sound as this one by LeBrón."

Alan J. Savada, C.T.C., www.OPERA-L.org / Washington National Opera, Kennedy Center

"Guido LeBrón returned to DC with great success to the role of a truly slimy Scarpia, with an
even nastier aura; her offers a deep sinister voice to match. Before Scarpia writes the "safe
passage” he touches Tosca’s arm in the most disgusting of ways and proceeds to lick the side of
her face. Gross, but great!”

Edward Reichel, DESERET MORNING NEWS / Utah Opera

"What distinguishes this production from previous ones is the powerful figure of Baron Scarpia
as played by baritone Guido LeBrón. His was a wonderfully sinister and villainous
characterization. He brought menacing passion and dramatic force to the role. And his
remarkable acting talent was matched by his vocal prowess. He has a dramatic voice that is
tempered with fine expressiveness that he used to great effect, especially in his duet in Act II
with Tosca, as he alternately threatens and cajoles her into yielding to his lust. Quite frankly,
LeBrón stole the show from the other leads in each scene he was in.”

John Zeugner, TELEGRAM & GAZETTER REVIEWER / Dicapo Opera Theatre

"Guido LeBrón brought all-stops-out fury to his delight in the prospect of sad-masochistic
ravishment of the vulnerable Tosca. He was the best voice of the evening, delivering a deep
baritone relish to his vocal defilement of poor Floria."

Victor Wheeler, CLASSICAL SOURCE / Dicapo Opera Theatre

"Guido LeBrón was a first-rate Scarpia, his lustrous, expressive baritone rendering his arias with
persuasive panache and foreboding iniquity. He conveyed every nuance of the character’s
nefarious intentions."

Paul J. Pelkonen, SUPERCONDUCTOR / Dicapo Opera Theatre

"Guido LeBrón's Scarpia [...] struck an imposing figure in his Act I entrance, thundering out his
lust for Tosca in the middle of the Te deum. The second act revealed the police chief as a
drooling psychopath, nearly raping Tosca as the room (a turntable set) literally spun around
them."

Tony Villecco, BROOME ARTS MIRROR / Tri-Cities Opera

"For dramatic purposes, the show belonged to baritone Guido LeBrón as the villainous Scarpia.
Whether snapping his whip or gazing at a small portrait of Tosca, he held the audience
spellbound with his vile and overtly sexual characterization. The palpable tension as Scarpia
escalated in his attempt to rape Tosca was released only when Tosca stabbed him to death.
Vocally, LeBrón also was adept with his strong voice ringing through the theater."

Kurt Loft, THE TAMPA TRIBUNE / Opera Tampa

"Guido LeBrón plays a downright nasty Scarpia. His baritone voice is particularly sharp and
vicious at the right moments. And he molds his character into a loathsome creature who
deserves a good steak knife in the gut. LeBrón struts about the stage, dressed in black and
sneering at everyone as the orchestra’s stark chords underline his lecherousness.”
Ted Wasserman, THE TICO TIMES / National Theater, Costa Rica
"Guido LeBrón, who was an exemplary nasty villain in Lucia di Lammermoor several seasons
back, had another opportunity for villainy. His mellifluous voice and commanding stage
presence dominated all the scenes he was in, and it was a pleasure to hear him again.”

As Wolfram in Tannhäuser

Craig Knobles, THE WAGNER SOCIETY OF NEW YORK, INC. / Palm Beach Opera
"But the dominating voice in both casts was Guido LeBrón in the April 13 cast, who reminded
me of the young Bernd Weikl, and what better can one say about a Wolfram?"

As Tonio in Pagliacci

FARGO OPERA BLOG / Fargo Opera

"Guido LeBrón's performance of Tonio's famous Prologue that we're going to see at the very top
of the show will undoubtedly be the first of many for him. We want to see him back on our stage
anytime his schedule would permit. What an absolute cannon of a voice!"

As Alfio in Cavalleria Rusticana

Paul Joseph Walkowski, OperaOnline.us / Connecticut Opera

"Alfio, the deserted husband, sung by baritone Guido LeBrón, cracked the whip nicely in the role
– ‘Il cavallo scalpita’ – and provided a meatier, more threatening contrast (vocally and in terms
of stage presence) to Turiddu’s taunting and irreverent manner.”

Matthew Erikson, THE HARTFORD COURANT / Connecticut Opera

"Baritone Guido LeBrón made a menacing Alfio, husband of Turiddu's sweetheart Lola."

As Germont in La Traviata

Joe Banno, THE WASHINGTON POST / Virginia Opera

"Baritone Guido LeBrón as Alfredo's troublemaking dad, Giorgio Germont, took the evening's
vocal honors. His ripe, rounded, Italianate voice had real beauty and heft."

Pierre Ruhe, OPERA NEWS / Atlanta Opera

"That left Guido LeBrón, a Puerto Rican lyric baritone, as the evening’s most thoroughly
satisfying singer. He was stiff in manner – the authoritarian father figure everyone fears – and
sang tenderly, gorgeously for the aria about his homeland, 'Di Provenza il mar'.”
Kevin Nance, THE TENNESSEAN / Nashville Opera
"By far, the best singer on the stage is Guido LeBrón, who as Germont, plies a rich and rounded
baritone that affords consistent pleasure. And his ramrod posture tells us all we need to know
about his addition to respectability whatever it costs the people he loves.”

Tony Villecco, BROOME ARTS MIRROR / Tri-Cities Opera

"Baritone Guido LeBrón brought his acclaimed interpretation of the elder Germont to vivid
reality. LeBrón has a natural and arresting stage presence. His delineation of the father's
misunderstanding and eventual remorse was palpable, and his strong rich voice had no
difficulties with the role. Particularly moving was the famous 'Di Provenza il mar.'"

Gene Grey, PRESS & SUN BULLETIN / Tri-Cities Opera

"LeBrón has both a commanding voice and stage presence and gives a poignant weight to the
pleadings he makes on behalf of his son and family. Not really a villain, his Giorgio is guided by
a tragic misunderstanding of what true love really means to the dying Violetta."

As Amonasro in Aida

Greg Berg, WGTD-FM (PBS) / Florentine Opera

"Guido LeBrón was Amonasro and his voice was the most imposing of all – and a real natural
for this repertoire.”

Rick Walters, SHEPHERD EXPRESS / Florentine Opera

"Guido LeBrón was a hot-blooded Amonasro, the Ethiopian king, singing with the virility and
sureness of phrase that Verdi asks of his heroic baritones.”

As Jack Rance in La Fanciulla del West

Edward Reichel, DESERT MORNING NEWS / Utah Opera

"An absolute delight, however, is baritone Guido LeBrón as Rance. He gives a convincing
portrayal as the malicious sheriff. LeBrón’s voice has a velvety quality that nevertheless has
power and dramatic intensity.”

Celia Baker, THE SALT LAKE TRIBUNE / Utah Opera

"Guido LeBrón as the sheriff who longs for Minnie, creates a three-dimensional villain who
garners sympathy and respect. His dark, flexible baritone was just right.”

As Figaro in the Barber of Seville

Ileana Cidoncha, EL VOCERO / Compañía Lírica de Puerto Rico

"Baritone Guido LeBrón gave an extraordinary performance as Figaro. His confident and
charismatic entrance evidences his on-stage experience. His vocal and acting abilities
commanded immediate attention as he took control of the stage. Guido is in fact ‘Il Barbiere’
when he is on stage. With his voice, LeBrón pays homage to our late baritone Pablo Elvira,
who’s Fígaro was pivotal. LeBron’s ‘Largo al factotum’ was definitely a memorable moment."
As Enrico in Lucia di Lammermoor

Andrés Sáenz, LA NACIÓN / National Theatre, Costa Rica

"LeBrón especially made a very favorable impression with his powerful, well-projected voice,
outstanding stage presence and persuasive dramatic performance."

As Belcore in L'Elisir D'Amore

Peggy Ann Bliss, THE SAN JUAN STAR / Teatro de la Opera, San Juan, Puerto Rico
"His ‘Come Paride Vezzozo’, with excellent, silky voice and flawless diction, comes across as
one of the highlights of the evening.”

As Riccardo in I Puritani

Mark Longacre, ARLINGTON JOURNAL / Washington National Opera, Kennedy Center

"The rising star is Guido LeBrón. His brilliant portrayal of Riccardo shines like a beacon across
the dreary landscape. Perfectly suited to bel canto, his voice effortlessly produces pearly, full,
well-balanced tones throughout its range. Articulating the graceful phrases, he remained as fully
aware of the sound they created as the silence between them. He can act, too. His animated
performance never lost touch with those around him. In short, he immersed himself completely
in the role, and brought to it a formidable arsenal of musical talent."

Pierre Ruhe, WASHINGTON POST / Washington National Opera, Kennedy Center

"LeBrón’s duet with bass Rosendo Flores was hearty, graceful and the best thing heard all
evening."

As Sharpless in Madama Butterfly

Tom Strini, MILWAUKEE JOURNAL SENTINEL / Florentine Opera

"LeBrón knows exactly who Sharpless is, and he remains true to and wholly invested in the
character, no matter what strainand inconsistency might be going on around him. The whole
cast could take a cue or two from LeBrón.”

Marc Jean-Bernard, EL NUEVO DÍA / Opera de Puerto Rico

"Guido LeBrón, important and resounding baritone voice, traced with authority the delicate role
of Sharpless, the United States Consul. The psychological extent of the Consul, appropriately
prophetic, anguished and diplomatic, emanated from his vocal and histrionic delivery.”

Peggy Ann Bliss, THE SAN JUAN STAR / Opera de Puerto Rico
"Guido LeBrón, one of Puerto Rico’s best voices of his generation, was in superb voice
Thursday as Sharpless, singing a smoothly executed and emotionally affecting duet with
[Pinkerton] in the first act.”
Robert Goodier, THE TICO TIMES / National Theater, Costa Rica
"…as Pinkerton’s friend and Butterfly’s anguished counselor, Puerto Rican-born Guido LeBrón
brings a natural posture and full-bodied vocals to the stage.”

Andrés Sáenz, LA NACIÓN / National Theater, Costa Rica

"Guido LeBrón’s portrayal was strong and decisive both vocally and theatrically; his voice
sounded robust and resonant.”

As Marcello in La Bohème

Ileana Cidoncha, FUNDACION NACIONAL PARA LA CULTURA POPULAR / Opera de Puerto

Rico
"Baritone Guido LeBrón, as the painter Marcello, fully mastered the vocal complexities of his
role, characterizing furious jealousy or dear friendship with equal poise."

As Gerard in Andrea Chénier

B.J. Atkinson, PORT FOLIO WEEKLY / Virginia Opera

"LeBrón sings with a large, virile tone which neither pinches in the upper register nor tanks at
the bottom. After quaking in fear at LeBrón’s portrayal of Scarpia in last season’s production of
Tosca, it was a joy to hear him as Gerard...LeBrón sucked us into his turmoil over his part in the
Reign of Terror and made us believe.”

Paul Sayegh, THE VIRGINIA-PILOR / Virginia Opera

"Baritone Guido LeBrón sang the conflicted Gerard. A less showy part, he displayed a rich,
smooth baritone voice, but even more impressively, he sand with a liquid lyrical quality that
turned this potentially villainous character into a real rival for Chenier. This is LeBrón’s best work
to date with the company.”

As Cristian de la Cruz in Río de Sangre

Gregory Berg, OPERA NEWS / Florentine Opera

"Guido LeBrón in the role of Christian Delacruz sang richly and tirelessly."

R. Todd Shuman, OperaOnline.us / Florentine Opera

"Baritone Guido LeBrón performed the role of Delacruz admirably and brought a chilling realism
to his performance."

Tom Strini, THIRDCOAST DIGEST / Florentine Opera

"Guido LeBrón's strong baritone is just the thing for Christian Delacruz's stentorian balcony
speech upon ascension to power. From that point on, it's all about disintegration. LeBron the
actor shows a strong, well-meaning Delacruz as he shrivels into a little man in over his head."
As Baritone Soloist in Concert

Sarah D'Esti Miller, PRESS & SUN BULLETIN / The Binghamton Philharmonic
"LeBrón is a performer who commands attention. His voice is not only rich in color, but big
enough to be heard above a full symphony orchestra – complete with sound deflectors, too. It is
really next to impossible not to be riveted by LeBrón’s performance. His emotions are so clear
on his face and his every gesture brings his character to the audience. He delivered a great
show.”

Peter Bergquist, THE REGISTER-GUARD / Brahms Requiem, Eugene Symphony

"Guido LeBrón is one of the finest baritones that has ever sung here. His performance of the
solos in two movements was well-nigh perfect. His voice is powerful and commanding and he
used it with taste and discretion. His instrument is under complete control and he used it to
stunning effect in a performance that could not be improved on in any way.”

Arthur Kaptainis, MONTREAL GAZETTE / L’Opéra de Montréal

"Young Guido LeBrón unleashed a voice of true Verdian amplitude on Di Provenza from La
Traviata."

As Joaquín in La del Manojo de Rosas

Jorge Martínez Solá, EL NUEVO DÍA / Teatro de Bellas Artes, Puerto Rico
"LeBrón, like good wine, gets better every year. His voice has developed even more. He now
displays a firm and gleaming upper register and has preserved his solid middle and lower
register and beautiful voice.”

As Count Danilo in The Merry Widow

Jorge Martínez Solá, THE SAN JUAN STAR / Teatro de Bellas Artes, Puerto Rico
"Of course, in this production the role of the count was so marvelously played and sung by
baritone Guido LeBrón that a case could be made for renaming the operetta as The Reluctant
Groom. His acting is credible and his stage demeanor positively glows. His beautiful voice is
very difficult to describe. It is solid, round, with big resonance, even in his speaking segments,
and his top singing notes are pearly in shadings and strong and dependable all the time."

As Juan in Los Gavilanes

Jorge Martínez Solá, THE SAN JUAN STAR / Fundación Puertorriqueña de Zarzuela
"LeBrón has a beautiful voice and a tremendous stage presence. His high notes are bright and
resonant and traveled very well to the utmost recesses of the theatre. In him we have a
tremendous resource that we sorely need at this moment. He should be brought back as often
as needed."
Directores de orquesta destacados

Yves Abel
Theo Alcántara
Marco Armiliato
Andrew Bisantz
James Caraher
Anton Coppola
John Covelli
Carol Crawford
Plácido Domingo
John De Main
Arthur Fagen
John Fiore
Anton Guadagno
Ernest Green
Giancarlo Guerrero
Kamal Khan
Eugene Kohn
Chosei Komatsu
Christopher Larkin
Peter Mark
Pacien Mazzagatti
Steven Mercurio
Edoardo Müller
José Luis Novo
Roselín Pabón
Eve Queler
Joseph Resigno
Carl St. Clair
Robert Tweten
Albert Rosen
Leonard Slatkin
Willie A. Waters
Maximiano Valdés

Referencias

Dra. Myrna Nieves, Boricua College, NYC

Fabiana Bravo, Catholic University of America, Washington, DC
Ana Cecilia Ramírez, Universidad de Aguascalientes, México
Thomas Goodheart, Binghamton University, NY
Dr. Gustavo Castro, Director Artístico Opera Nova
Dra. Carmen Méndez, Universidad Nacional de Costa Rica
Zamira Barquero, Universidad de Costa Rica
Dr. Manuel Matarrita, Universidad de Costa Rica
Ernesto Rodríguez, Universidad de Costa Rica