* TIROLER LANDESTHEATER, INNSBRUCK – AUSTRIA *


“… Paulo Ferreira is a Giasone who meets this woman on the same level (…Medea emphatically heroic highly dramatic…), with attack, and who at opening night on Saturday was delivering more and more beautiful tenor brilliancy.” – (by Ursula Strohal – Tiroler Tageszeitung, 22.04.2013)

“… Paulo Ferreira, Giasone … his tenor was powerful, immaculate in the highest and during the performance his acting skills was further better.” – (by Sieghard Krabichler – Bezirks Blätter, 22.04.2013)

* PFALZTHEATER KAISERSLAUTERN – GERMANY * 


“… Outstanding was the Guest Paulo Ferreira, as Ismaele. The Portuguese tenor not only sings his role, but embodies it through is dramatic dowries and his resplendent and technically perfect bel canto voice.” – (by Frank Herkommer in Opernnetz, 19.01.2013)

“ … The bright and very moving voice of the Portuguese Tenor Paulo Ferreira (Ismaele)” – (in Saarbrücker Zeitung of the Premiere in 19.01.2013)

“ … Lacking neither in intense emotion nor vigor, the Portuguese tenor Paulo Ferreira, was fully convincing in the role of Ismaele, impressing with every musical line.” – (by Jochen Rüth in Der Opernfreund, 23.01.2013)

* TIROLER LANDESTHEATER, INNSBRUCK – AUSTRIA *


“ … Paulo Ferreira is lavishly using his beautiful, resilient tenor material. At the end, when conductor Alexander Rumpf is allowing pathos after having given a tense and direct interpretation before, Ferreira is completely at terms with himself.” – (in der Opernwelt of Dec.12 by Markus Thiel)

“ … In a Belcanto opera, Belcanto voices are belonging. Paulo Ferreira shines as Hagenbach, his powerful tenor has great charisma and depth.” – (in Frank Herkommer.de by Frank Herkommer, 12.11.2012)

“ … Paulo Ferreira received, in this production, a huge applause in his debut as Giuseppe Hagenbach. His Tenor Spinto’s voice grabbed the audience, as well as their good qualities as an actor, as well as the agreement with the character of Wally. His interpretation of the last act aria “O come furon lunghi i di” was very intense, and the duetto followed with Wally “Vieni vieni una placida vita”, before the tragic end.” – (in MTG Opera by M.T. Giovagnoli, 04.11.2012)

“ … The young Portuguese tenor Paulo Ferreira has impressed as Hagenbach, with his smooth and booming timbre. With an excellent articulation and phrasing, he presented in the foreground the belcanto side of the role. In the Hagenbach’s aria, an excellent tenor was at place.” – (in Das Opernglass by W. Kutzschbach, 04.11.2012)

“ … To find a tenor who is so securely at home in the region of uncomfortably high passages and who, on top of this, is able to differentiate between headily powerful and fondly soft intonation – to find such a tenor is probably the main problem for those opera houses who schedule this work, so this underlines also the artistic cleverness of the new theatre management.” – (in Der Neue Merkel by Udo Klebes – 02.Nov.2012)

“ … The Portuguese tenor Paulo Ferreira made his fulminant debut in Innsbruck. His brilliant and beautifully coloured splendid tenor voice was blooming and presented him as “primo uomo” – (in Krone/Kultur by Von Der Gratl – 01.10.2012)

“ … The young Portuguese tenor Paulo Ferreira fearlessly meets the challenging altitude, flights which Catalani demands of his Hagenbach and masters them brilliantly.” – (in Der Neue Merke by Dietmar Plattner – 01.10.2012)

“ … The guest tenor Paulo Ferreira, had bravely mastered the demanding part of Hagenbach.” – (in Der Opernfreund by Jochen Rüth – 29.09.2012)

* SCHLOSSTHEATER FULDA – GERMANY * 


” … After the first notes of Cavaradossi’s first aria (Recondita Armonia) you think you can’t believe your ears: There you have a wonderful Puccini tenor singing with shine, cream, smoothness and vigour. A Cavaradossi in an extra class of its own, (…) that disposes of a light palette of colours and heights that shine with abundance of overtones, sometimes steely, as well as of an easy piano. The shining highlight of the evening is Ferreira’s aria “E lucevan le stelle”, presented as a nobly intoned lamento full of nostalgia and glow, longing for life and sensual memory.” – (Christoph A. Brandner, 22.03.2012 – Kultur – Fuldaer Zeitung)

* THEATER HOF, GERMANY *


“ … It was not a coincidence that Paulo Ferreira shared the stage with Anna Netrebko. The Portuguese tenor, member of the Ensemble of Hof Theatre, was vocally brilliant in the role of Grijorij, a voice of exceptional beauty.”  – (Frank Herkommer – Opernetz – 03.2012)

“ … The character Grigorij Otrepjew Paulo Ferreira is presented in a dynamic and full of enthusiasm! The Portuguese Tenor approaches it with a more lyrical way in his personage and presents with a German (intonation) clear and perfect. “… – (Eingestellt von Zenner – Operapoint 03.2012)

“ … While they are having a vocal explosion, the Pretender to son of Czar, Grigorij (Paulo Ferreira), in addition to his voice power, also focuses on his vocal beauty. (…) The Portuguese guest tenor, shine with his Tenor Voice …” – (In Franken – 03.2012)

* THEATER HOF & STADTHALLE BAYREUTH – GERMANY *


“ … Paulo Ferreira (Cavaradossi) is ideal Puccini’s tenor: bright, clear and shining (…) The Voice is equally penetrating over the most piano register (…)”  – (in the Eigestellt von Zenner operapoint.com – 24/10/2011).

“ … The stunning and phenomenal Portuguese Paulo Ferreira (…) is without any doubt sublime! In common with (Placido) Domingo (…) have the intensity and smoked articulation, and the timbre is lyrical and heroic. “ – (Frank Piontek / Bayreuth – Nordbayerischer Kurier – 10/04/2011).

“ … The splendid Portuguese Tenor in his sphere of emotion and grief, sometimes impressive, sometimes languid with his” Italianitá “sobbing (…)”  – (Michael Thumenser in frankenpost.de – 26/09/2011).

“ … His Spinto Tenor voice goes through over the whole paper without fail! After demanding the 2nd act, he still has enough reserves to (in the 3rd act) make shine the stars!“ – (Alexander Hauer” Der Opernfreund “- 23/09/2011).

* KÖLN PHILHARMONIE – GERMANY * 


“ … The highlight of the evening was when Anna Netrebko sang Leonora to the aria “D’amor sull ‘ali rosee – Miserere “from Il Trovatore by Giuseppe Verdi (…) The duet of Leonora – Manrico (Paulo Ferreira), filled them with vibrant life (…) The concert was told by a brilliant performance increase, for thanking of the audience with thunderous applauses.”  – (Ioco – culture in the network gmbh | ioco.de 02.07.2011)