Gustavo in Los Gavilanes, Toronto Operetta Theatre
A superb performance comes from Ernesto Ramírez as Gustavo. Ramírez colours his large Italianate tenor to bring out the emotion of every aria he has. Loveliest of all is his Act 2 romanza “Flor roja”, said to be one of the most perfect tenor arias in all Zarzuela. When one hears the beauty of such arias as this, one can only wonder at the foolishness of the non-Hispanic world in leaving the richness of zarzuela unexplored for so long.
http://www.stage-door.com/Theatre/Current_Reviews/Entries/2016/4/27_Los_Gavilanes.html
Interview in Pro Ópera magazine:
http://www.proopera.org.mx/pasadas/sepoct6/entrevistas/6-ent-sep14.pdf
ROBERTO DEVEREUX, Canadian Opera Company, Toronto
On May 10 2014, Ramirez stepped in on short notice to sing the title role of Roberto Devereux at the Canadian Opera Company (barczablog.com)
“Ernesto Ramirez, who was the cover for Roberto Devereux, got the nod today. Knowing that people were coming to see Radvanovsky from all over the world, I can imagine the pressure Ramirez must have felt when he was told he’d be getting a performance. And so –speaking of theatrical drama– this was the classic drama within a drama.”
“Ramirez knows who he is. The singing was thoughtful, well-planned. I have not heard a performance that was so accurately pitched in a very long time. Every single note was exactly on pitch, including two high B’s in his final scene.”
“Ramirez is not Pavarotti –again speaking of identity– but to my ear, the resemblance is striking. The line, the lovely precision attack on high notes… but one big difference. The Great Pavarotti was known to be an instinctive singer who did not read music. Ramirez? I saw him accompany his wife Michèle on clarinet at a concert I reviewed, as she sang ““non piu di fiori” from La Clemenza di Tito. Later? He sang “Granada”, among other things. I hope this is the big break that shows the world what Ramirez can do. Who have we heard around here who sounds as good? Stephen Costello, Ramon Vargas? lovely sounding to be sure, but Ramirez is genuinely in their league, and i swear, a prettier voice. Yes he does sound like Pavarotti…Ramirez seemed fearless…”
barczablog.com/2014/05/11/questions-of-identity/ May 11 2014
TAMINO in Die Zauberflöte, Teatro Bellas Artes, Mexico City
"His beautiful and warm timbre, the body and roundness of his sound, were all combined with a musical interpretation, however subtle, with a determined and refined vocal technique, artistically very tasteful."
"Su bello y cálido timbre, el cuerpo y la redondez de su emisión, se mostraron como cualidades combinadas con una interpretación musical, sutil, de técnica resuelta y refinado gusto canoro."
José Noé MercadoProOpera, February 2014
PRINCE SOU CHONG in The Land of smiles, Toronto Operetta Theatre
"Tenor Ernesto Ramirez has a wonderfully fluid line and brilliant high notes, while soprano Lara Ciekiewicz matched him high note for high note. They made a sympathetic couple both visually and in the way their voices blended, and ably supported by the TOT orchestra led by Derek Bate."
barczablog.com, December 2013
NADIR in Les pêcheurs de perles, Opera Hamilton
"Tenor Ernesto Ramírez is a musician who has clearly thought out the why and how of every note he sings. Not only was his Je crois entendre delivered with touching poignancy, his high Bs alternately sung in head and full voice, but his rendition of the Au fond du temple saint duet with Polegato brought goosebumps."
Leonard Turnevicius, The Hamilton Spectator, March 11, 2013
"Tenor Ernesto Ramírez sings the role of Nadir with a gorgeous warmth of tone and exquisite phrasing. This is an artist clearly comfortable working within the classic vocal tradition of French grand opera, where lyricism generally trumps show-off virtuosity. This fine young talent can, of course, thrill and does so in virtually each and every one of his many genuinely affecting appearances spotted throughout the production. The great landmark tenor-baritone duet Au fond du temple saint is performed with an engaging bitter sweetness by Ramírez and Polegato, a potent quality that gives the justifiably cherished piece its compelling emotional reverberation."
Opera Going Toronto, March 2013
Soloist in Beethoven's Ninth Symphony with Grand Rapids Symphony
"Four guest singers, all with sweet voices, joined the performance. Ramírez' resplendent tenor [was a] nice touch."
Jeffrey Kaczmarczyk, Michigan Entertainment, November 12, 2012
LEICESTER in Maria Stuarda with Pacific Opera Victoria
"...in the dramatically taxing role of Leicester, the Mexican/American Ernesto Ramírez showed himself to be that rarity, a tenore di grazia who combines dramatic flair, vocal charm, and musical taste--what a pleasure it is to encounter a hero in an Italian opera who, without shortchanging the effect of his big moments, never for a moment descends into shouting!"
Bernard Jacobson, seenandheard-international.com, April 17, 2012
"Yes, Maria Stuarda is a diva-opera, but Ernesto Ramírez as Leicester is a revelation. Of Mexican-American descent, Ramírez's velvet tenor voice communicates aching romantic love."
Brent Schaus, mondaymag.com, April 18, 2012
"Mexican-born tenor Ernesto Ramírez is at once virile and sensitive as Leicester, impressing not so much for raw power as for suave, nuanced lyricism."
Kevin Bazzana, timescolonist.com, April, 22, 2012
NEMORINO in L'Elisir d'amore with Opera Angers-Nantes, France
"A touching and radiant Nemorino, the young Mexican tenor Ernesto Ramírez is a revelation. From the beginning of his first aria, we are charmed by his luminous voice, perfectly placed, high and clear, magnified by a mastered legato and a superb sense of the text, capable of the most refined nuances, the sound production always smooth and on the breath, vocalizations with technical and musical accomplishment allowing him to suspend time in his aria 'Una furtiva lagrima', magnificently phrased and overwhelming with emotion. He gives the impression of being one with his character, which he embodies with a loyal truth and a touching fragility. He is a new talent to follow very closely."
"Nemorino touchant et rayonnant, le jeune ténor mexicain Edgar Ernesto Ramírez fait figure de révélation. Dès le début de son premier air, on est charmés par sa voix lumineuse, parfaitement placée, haute et claire, magnifiée par un legato de grande école et un superbe sens du texte, capable des nuances les plus raffinées, à l'émission toujours moelleuse et sur le souffle, jusque dans des vocalises sans reproche, un accomplissement technique et musical lui permettant de suspendre le temps à travers 'une Furtive lagrima', magnifiquement phrasée et bouleversante d'émotion. Il donne l'impression de ne faire qu'un avec son personnage, qu'il incarne avec une vérité attachante et une fragilité attendrissante. Un nouveau talent à suivre de très près."
Nicolas Grienenberger, classiquenews.com, May 14 2011
JAVIER in Luisa Fernanda with Toronto Operetta Theatre
"Vocally, the revelation of the evening was Ramírez, a true Italianate tenor with endless lung-power and a heroic tone. His triumphant entrance aria, "De este apacible rincón de Madrid" drew such thunderous applause and bravos Ramírez should have a bright future ahead of him. At the end, he was able to colour his voice so delicately that his contrition seemed completely believable."
Christopher Hoile, The Wholenote, March 2011
"Mexican tenor Ernesto Ramírez as Javier is a real talent"
Paula Citron, Classical 96.3, March 17 2011
DON RAMIRO in Rossini's Cenerentola with the Rossini in Wildbad Belcanto Opera Festival
"It was as clear as ever before: If Pesaro is a meeting of world stars, so is Bad Wildbad in early development. Ernesto Ramírez exceeds his colleagues, he is even more winning and higher and brighter as Ramiro in "La Cenerentola". One would think that the Artistic Director should queue at the stage door with a contract in hand."
"Dabei wurde so deutlich wie selten zuvor: Ist Pesaro ein Meeting der Weltstars, so sind in Bad Wildbad in statu nascendi zu erleben. Ein Vokalereignis, für das hier (außer Spyres) nur zwei begnadete Tenöre stehen mögen: der so samtene wie stratosphärensichere Gustavo Quaresma Ramos an diesem Doppelabend, der nur von seinem womöglich noch gewinnenderen und noch höhenstrahlenderen Kollegen Edgar Ernesto Ramírez als Ramiro in "La Cenerentola" übertroffen wird. Da, denkt man sich, müssten unsere Intendanten am Bühneneingang Schlange stehen, die Vertragsentwürfe in der Hand"
Heinz W. Koch, Opernwelt, September 2010 / Badische&Zeitung, July 21, 2010
"Tenor Edgar Ernesto Ramírez designed his role of the noble prince with lyrical cantilena."
"Tenor Edgar Ernesto Ramírez gestaltet den edlen Prinzen mit lyrischer Kantilene."
Ruhr Nachrichten.de, Martin Roeber, July 16, 2010
"In the other roles, there was solid expertise. The Mexican tenor Ernesto Ramírez brought his distinctive Rossini voice, especially in the impressive heights of the role, to advantage"
"In den übrigen Rollen herrschte solide Kompetenz. Der mexikanische Tenor Edgar Ernesto Ramírez brachte seine prägnante Rossini-Stimme vor allem in den Höhenflügen der Figur eindrucksvoll zur Geltung"
Pforzheimer Zeitung July 16, 2010
"So give the Italian mezzo-soprano Serena Malfi and the Mexican tenor Edgar Ernesto Ramírez rise to the highest hopes, to become a new dream couple of belcanto opera. As Angelina (called Cenerentola) and Don Ramiro lead…the opera audience through a moving transformation game and finds its expressive end in the grand gesture of forgiveness"
"So geben die italienischen Mezzosopranistin Serena Malfi und der mexikanische Tenor Edgar Ernesto Ramírez Anlass zu den schönsten Hoffnungen, ein neues Traumpaar der Belcanto-Oper zu werden. Als Angelina (genannt Cenerentola) und Don Ramiro führen die beiden hervorragenden jungen Solisten das Opernpublikum durch ein rührendes Verwandlungsspiel, das in der großen Geste des Verzeihens ihr ausdrucksstarkes Ende findet."
Redaction Regio News CW July 2010
"Prince Ramiro is Edgar Ernesto Ramírez with a pleasant dark tone and with an encouraging and grounded technique, clear phrasing and musical sensitivity and thus young in his appearance yet with a very advanced vocal weight, demonstrating proper aristocratic restraint."
"Den Prinzen Ramiro gibt Edgar Ernesto Ramírez mit angenehm dunkler Klangfarbe und erfreulich breitem Fundament, klarer Phrasierung und musikalischer Einfühlsamkeit und damit ein für seine jugendliche Erscheinung schon sehr fortgeschrittenes vokales Gewicht und angemessene aristokratische Zurückhaltung."
Udo Klebes, Der Neue Merker, July 2010
NEMORINO in Sarasota Opera's L'Elisir d'amore
"Ernesto Ramírez was born to play the role of Nemorino. The Mexican tenor has an innocent open-faced quality, perfect for the gullible lovelorn peasant whose love for the wealthy Adina is not returned. Ramírez has a flexible and vibrant middleweight tenor…he handled the rapid-fire ensembles well and proved consistently amusing without crossing the line to mugging."
Lawrence A. Johnson, South Florida Classical Review, March 2009
DECIO in La Vestale with Toronto Opera in Concert
"Mexican tenor Ernesto Ramírez as Decio has a real Italianate sound of shimmering beauty."
Paula Citron, Classical 96.3 FM, November 2008
