… “The Portuguese tenor, Paulo Ferreira, does not depict “Des Grieux” as a tenor who only throws himself powerfully into the high notes. Rather, he finds the delicate tones of the role, sending a lot of feeling over the orchestra pit, and builds it so that the second half of the evening he is in top form.” … by J. Rüth in “Der Opernfreund”, 11/11/2017


…”In the first place is Paulo Ferreira as Enzo. His exceptional singing technique and his metallic timbre, with his “sobbing” that make remember Caruso, perfectly match of what we can be expected from an Italian opera tenor, with specialization in the late-romantic repertoire. On top of this, there is an apparently indestructible self-confidence.” …von Dr. Martin Knust in Operapoint.com

…” The tenor Paulo Ferreira fires off the most penetrating high notes, creating with his passion a splendid atmosphere”… in South Swedish paper (Sydsvenskan)

…”At the opening night Enzo was sung by Paulo Ferreira with great balanced voice, glowing and full of feeling.”… in Swedish Day paper (Svenska Dagbladet (SvD)

…”Enzo was sung by the Portuguese tenor Paulo Ferreira. He has everything that a tenor part needs, as “Italianitta” (tears in the voice) … You can’t be more than impressed.”… in Expressen

…”Paulo Ferreira created an Enzo with his powerful Tenor voice with real italian sound and acting worth to remember.”… in Skanska Dagblatet by Lars-E. Larsson


…”Paulo Ferreira (…) did resound at the Landestheater with a glorious tenor sound.” …  – ( in Merkur by M.Thiel – 13.02.2017)

…”Paulo Ferreira is a powerful Riccardo with a secure height.”… – (by Franz Gratl in Krone – Kultur, 13.02.2017)

…”Paulo Ferreira, strong with frasing and italian tone in the voice.”… – (by Ursula Strohal – Tiroler Tageszeitung, 13.02.2017)

…”The Portuguese tenor Paulo Ferreira presents with a generous and careful singing … that led him to show a huge strength with his personage, even before the bravura passages.”… – by V. Mascherpa – Opern Click, 13.02.2017

…”The tenor Paulo Ferreira have heroically coped physically and vocally the highly demanding role of Riccardo. His coloured rich voice is soft and nevertheless he never miss the focus that allows him to reach easily high notes.”… – (in Opera Plus by D. Doniga, 27.02.2017)


…”The Gala, with the State Opera’s orchestra and soloists, under the baton of Hendrik Vestmann, were the first highlight of the evening and spread great excitement amongst audience members. Out of the many excellent performances Paulo Ferreira’s interpretation of “Nessun Dorma” stood out. How often does one hear this famous aria taken from Giacomo Puccini’s opera Turandot sung so intensively and so radiantly? It was worth coming to the Operaball even just to hear this one hour concert.”…in nwzonline by Christoph Kiefer, 16.01.2017


…”Making his debut at the Hannover Staatsoper is the Portuguese tenor Paulo Ferreira, an ideal Cavaradossi with his compelling and powerful tenor, full of tenderness. From his impressive opening “La vita mi costasse” through to a thrilling “Vittoria, Vittoria” call and ending with a simply perfect interpretation of the aria “E lucevan le stelle”, he left nothing to be desired.”… – (in Der Opernfreund by Jochen Rüth, 03.10.2016)


…”Paulo Ferreira as Foresto presented his imposing voice with its thrillingly powerful upper register. His distinctive tenor triumphed in the role with its impressive high notes, its gentle legato, as well as an ability to convey deeply moving drama”… in Der Neuer Merker by Gerhard Hoffmann, 19.09.2016 

… ” Paulo Ferreira warms the Theater im Pfalzbau with his heart-melting Foresto sung with metallic timbre, marvellous brilliance and sheer endless breath.”…in Der Opernfreund by Jochen Rüth, 28.01.2017


… “Paulo Ferreira possesses a powerful tenor voice with a secure top, however he can also pull back and sang his aria in the first act with incomparable sweetness.”… by Jochen Rüth in Der Opernfreund, 28.05.2016

… “Triumphing in the role of Gabriele de la Gardie is the Portuguese Tenor Paulo Ferreira, with his voice of full lyric sweetness, finely nuanced singing, and an effortless top.” … by Horst Hollmann in Nwzonline.de, 22.05.2016

… “Paulo Ferreira sings the role of Gabriele with tenoral sweetness and passion.” … by Erik Hermann in kreiszeitung.de, 22.05.2016


“The portuguese Tenor Paulo Ferreira is the understudy Calaf, but after yesterday evening I must ask myself why. Particularly in the first act, he effortlessly tosses off the many high notes, with beautifully nuanced singing, and in the middle range his warm timbre is reminiscent of Placido Domingo. Needless to say, his superb Nessun Dorma was greeted with the only applause of the evening.” – (by Jochen Rüth in “Der Opernfreund”, 27.12.2015)

“…a Calaf as sensitive and vocally fine-working as Paulo Ferreira … The Portuguese is one of those performers who, also because of the vocal potential, approach the heroic role of the fugitive Prince supremely detailed and, wherever possible, with lyrical fine tuning and different shades, the more escalating effectively at the great eruptions. … mastered everything in the top register with clarity and aplomb …”- (by Udo Klebes in “Der Neue Merker”, 06.01.2016) 


” … The Theather from Oldenburg convinced us with an outstanding musical performance… Paulo Ferreira, also a guest, remained excellently alongside his partner with a strong stage personality. His tenor voice owns a lot of brilliance and power for the expressive moments, but it also has the lightness for the opening aria “Tra voi, belle”… a first class opera night…” – (in Der Opernglass – November 2015 by M. Wilks.)

” … As guest at the Oldenburgishe State Theatre was N. Stefanoff, very well casted for this Manon… Standing at her side was Des Grieux, Paulo Ferreira also as a guest, with his radiant tenor voice … ” – (by Annkatrin Babbe – in Nwd Zeitung, 28.09.2015)

“… What we can say for sure is, that especially the singing made this evening remarkable. The two main parts have been cast excellently with Nadja Stefanoff (…) and Portuguese tenor Paulo Ferreira as Des Grieux – also as actors playing their roles. (…) Ferreira is on par with her and leads his Italian tenor steadily through all registers.” – (by Stephan Walzl – in Kreizeitung.de, 28.09.2015)

“… At her side was Portuguese tenor Paulo Ferreira who convinced already with his rapturous “Donna non vidi mai” with a radiant high register and a beautiful timbre. The passionate impetus which he put into his voice, showed great caliber. The duo between Stefanoff and Ferreira was sung with full voice and fervid passion.” –  (by Wolfgang Denker – in Weser Kurrier, 28.09.2015)


“… Since his Hagenbach in „La Wally“ three years ago, Paulo Ferreira has developed gorgeously, and incarnated convincingly Maurice of Saxonia, the soldier as well as the Count. While he is in notably slimmer shape, yet his tenor is now also flowing in the high register without any perceivable effort, and with a mediterranean timbre he makes all wishes come true in the Italian fach.” – in Opernglas, May.2015

“… The man stuck between to strong female rivals, Maurice of Saxony, is played by the markedly elegant Paulo Ferreira with a bright, hard-hitting, golden tenor voice. The ease with which he now moves on stage is remarkable.” – by Dietmar Plattner in Der Neue Merker, 09.02.2015

“… Standing apart (in the true sense of the word) is Paulo Ferreira. He is an old friend at Innsbruck – where his roles have included Hagenbach in Le Wally and the Italian Singer in Der Rosenkavalier – and he cuts a fine figure in his sharp suit and natty tie. He has a good, strong top, such as the role requires (as well as Caruso, Franco Corelli and Placido Domingo also sang Maurice) and sings powerfully and securely, with compelling tenorial polish…and achieves a touching piano in the final act.” – by Jochen Rüth in Der Opernfreund, 09.02.2015

“… Paulo Ferreira is a wonderful, languid Maurizio of very Italian range, with a fine, easy tenor.” – by Franz Gratl in Krone – Kultur, 09.02.2015

“… Within the category of Spinto Tenor is her lover Maurizio, where we have Paulo Ferreira. In him we find in each situation a righteous temperament, where he sings his best sounds.” – by Ursula Stroal in TTzeitung, 09.02.2015