“The piece turns on Laurentino himself, in all his life stages, and baritone Efraín Solís created yet another in the series of impeccably etched performances that have marked his career in the Bay Area. His Laurentino was by turns cocky and remorseful, and conveyed throughout by singing of lustrous presence.”

“At the center of the production are two glorious performances by Efraín Solís in the title role and Maya Kherani as Susanna...both possess gorgeously expressive voices and warm and uncommonly winning stage presences. They sang beautifully throughout, bringing nuance and a lively musicality to Mozart’s melodies while clearly articulating the text and playing the underlying emotions.

Solís was particularly effective in his plaintive, tragicomic Act IV recitative and aria, “Tutto è disposto / Aprite un po’ quegli occhi” and followed that up with some deft, silent comic antics. [Kherani] and Solís have a level of connection and chemistry that is rare in the world of opera and gives their scenes a wonderful sense of spontaneity. They are the very antithesis of the old-school “park and bark” style of opera performers.”

“Efraín Solís’s honey-hued baritone gives Gil a softness and charisma that allows the audience to understand why Susanna would stay married to a man who doesn’t want her to leave the house and from whom she has to hide something that brings her joy. In their solo moments, Becerra and Solís command the screen, and together, they have a wonderful, effortless chemistry that would be impossible to fake.””

“Efraín Solís is a sympathetic Charlie. His large, evenly produced baritone can manage fierce declamation and warm-toned lyrical arioso without strain. He made the listener feel both the character’s desperation and frustration and sadness at his mother’s lack of empathy.”

“With his grounded, colorful baritone and natural boyishness, Efraín Solís makes Charlie the kind of little brother you want to coddle, but who is plenty strong on his own. Solís is especially moving mourning Burt’s death, twisting his commitment ring indecisively while packing away his partner’s clothes. He and Kherani shine in their scenes together with a natural rapport that makes their relationship feel real.”

“In particular, was the portrayal of French Lieutenant Audebert by baritone Efraín Solís. While somberly naming a list of the dead and wounded, his thoughts continually return to his wife and unborn child. Solís’s portrayal was easy to watch, refreshingly real while still being readable for audience members in the back of the hall. His voice came easy and he navigated the upper ranges of his baritone voice with tenor-like grace.”

“With his warm, flexible baritone and good looks, Solís’ Charlie is especially compelling. Grief-stricken when his long term partner dies of AIDS, he is the picture of youthful bewildered sorrow. In one shot, an overhead camera looks down on his curled-up body. He is small and helpless, the very essence of humanity under siege. The shot tells us something valuable about a world in the time of AIDS, Covid-19, or whatever woe the future might bring. It’s an image I can’t get out of my head.”

“Baritone Efraín Solís movingly reveals the poetic soul of French Lt. Audebert.”

“At the fulcrum was baritone Efraín Solís’ incendiary performance as Golaud - brother to Pelléas, husband to Mélisande and somehow both the protagonist and a sidelight in someone else’s tale. In singing of muscular vividness, Solís brought the audience into the reality of his plight without ever making excuses for Golaud’s abusive behavior.”

“Baritone Efrain Solis as Mercutio, Romeo’s second, lends plenty of drama and talent to the production—notably Solis’ rendition of the “Mab” aria.”