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As Arturo, Jésus León offers sweetness of tone and some extraordinary top notes. Elvira’s beloved Arturo was sung by Jesus Leon, who has an attractive, flexible light tenor voice. Leon was clear and firm and produced a fine rendering of the showpiece “A te o cara”. LA TRAVIATA - Landestheater Bregenz Der junge mexikanische Tenor Jesús León wird ob seiner sicheren, strahlenden Höhe, die er als Alfredo zeigt, in der internationalen Opernwelt wohl noch von sich reden machen. Berührend in den Liebesszenen, macht er den Schmerz, den ihm sein Vater zufügt, noch zu wenig plausibel.
Ihr Partner, der ansehnliche Mexikaner Jesús León als Alfredo, ein Sunnyboy der Opernbühne, ist endlich einmal ein Tenor, um dessen stimmliches Seelenheil man nicht zu bangen braucht, wenn er zu Höhenflügen ansetzt wie in der durch die gewählte verlängerte Originalfassung verdoppelten „Cabaletta“. Auch sein Parlando ist untadelig, sein Spiel sehr natürlich und unaufgesetzt.
. . . the vocal splendour of Joshua Bloom’s Leporello is nicely complemented by Jesus Leon’s sweet tenor as Don Ottavio;
It was very welcome to see Don Ottavio taking charge of things, even if that meant some shenanigans with the Commendatore's corpse... Jesús León coped well with all he had to do as Ottavio and sang a commendable 'Il mio Tesoro' which is no mean feat even when your character is not faced with sullen companions.
. . . and as for Jesús León as Don Ottavio, his pleasant upper register makes one regret the absence of ‘Dalla sua pace’ from Act One.
TRAVIATA - Dijon, Opera - January 2012
Le mexicain Jesús León est un Alfredo juvénile et crédible: prestance, sens de la scène, fort belle ligne vocale, contre-ut de la cabalette (facultatif il est vrai) envoyé et tenu avec insolence, voilà un jeune chanteur dont le nom mérite d'être retenu.
Le ténor mexicain Jesús León traduit à merveille l'ardeur juvénile, la tendresse et la lâcheté d'Alfredo.
Si son format vocal n‘est pas particulièrement ample, le ténor mexicain Jesus Leon a du moins l’art et les moyens de camper un Alfredo d’une vocalità infaillible (le contre-ut de la cabalette !). Son timbre de velours, contrôlé par une technique aguerrie, son refus de tout excès, dans une ligne de chant admirable, et son impressionnant contrôle du souffle, lorsqu’il entonne par exemple le fameux « De’ miei bollenti spiriti », font de ce jeune chanteur un des Alfredo les plus exaltants du moment.
I’d heard of the Mexican tenor Jesús León, but not heard him. He was certainly worth the wait. His Cavaradossi gripped from the very first, and he established a thrilling chemistry with both Tosca and Scarpia. ’Recondita armonia’ was seductively abandoned and lyrical, he was superbly dramatic and realistic in the horrors of Act Two, and sang an ‘E lucevan’ to die for. His voice is even, with a terrific, flexible top, and he’s a good, and good-looking, actor.
Full of cheerful joy of acting such we experienced the Mexican Tenor Jesus Leon in the part of Riccardo with plenty of sweetness and a suppressed lacrima nella voce, a voice with a homogeneous color and secure high tessitura. For once the tenor was not the weakness of the show, but one of its very strengths.
Mexican tenor Jesús León (also making his Tosca debut) sang (in English) ‘Lucevan le stelle’ in this grimly foreboding setting, revealing a voice with a ringingly supple top end and lean, strikingly photogenic features.
I’d rather have heard her Mexican Cavaradossi, Jesús León, in Italian, but he sang with limpid tone and elegant phrasing.
Our Duke, Jesús León, is a natural tenor with an unforced top and the ability to sustain high notes for an impressive length of time. The graduate of a number of prestigious opera programs is also a natural onstage, totally believable as a philandering lover, able to maintain focus in “Questa o quella” as two women ran their hands all over his face and body, and handsome enough to seduce the innocent Gilda into sacrificing her life for him.
Jesús León is a living incarnation of Alfredo. He exudes a boyish charm and a happy-go-lucky approach to life. |