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As his garrulous, grumpy boss Mr. Putnam, Rafael Porto blustered and bullied with power and punch.

His substantial bass-baritone had sheen and allure, especially after he softened his delivery when Fabian took over. His subsequent scene in the bar, where he encounters Diana as Fabian-Putnam had enormous appeal in its gentle awkwardness.

— Opera Today


If I Were You

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prisoner of the state

The opera’s most interesting musical moments were choral like...woven with those of the Guards Matthew Pearce, John Matthew Myers, Steven Eddy and Rafael Porto.

— Heidi Waleson

   Wall Street Journal

Rafael Porto gave a high caliber vocal performance and demonstrated strong comic acting abilities as well.

— Tom Alvarez

   On the Aisle

Bass-baritone Rafael Porto, who last April sang Sarastro in all four performance of “The Magic Flute,” is doing the four performance trick once again in “Barber” as Rosina’s guardian Dr. Bartolo, he who triesto woo Rosina into marriage but fails to.Porto captured the manner of this gruff character and conquered his music fluently and expeditiously.

— Peter Jacobi

   Herald Times

Il Barbiere di Siviglia

Florencia en el Amazonas

As for the rest of the cast, there wasn’t aweak link...As the steamer’s Capitan andpossibly the only untroubled soul on theboat, Rafael Porto brought a genial mannerand warm humanity to the role.

— David Fleshler | South Florida ClassicalReview

Rafael Porto genuinely conveyed his dedication and love for the steamboat El Dorado, his bass-baritone pure, especially in his higher register, bringing a soft gravity to his scenes.

— Steve Gladstone | MiamiARTzine

FGO’s Florencia, fortunately, has a finecast of singers who ably handle the highlyemotive, big-gestures demands of thescore...Rafael Porto was an admirable andwell-sung Capitán.

— Greg Stepanich | Palm Beach ArtsPaper

Surprisingly, the stunning visuals and even Catánʼs breathtaking score do not over shadow the strength of an unassailable cast who act their parts with more credibility than many of their colleagues in the field...Rafael Porto makes a paternal captain.

— Bill Hirschman | Florida Theater OnStage

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Madama Butterfly

Rafael Porto’s firm bass exuded fire in The Bonze’s denunciation of Cio-Cio San for her conversion to Christianity.

-Lawrence Budmen

 South Florida Classical Review

Rafael Porto as the Sacristan and Jailer gave sturdy, effective performances.

— Schmopera




Rafael Porto as the 1st Nazarene madestrong impressions in cameos.

— Lawerence Budmen

   South FloridaClassical Review

Among smaller roles, Rafael Portodistinguished himself in the melodious linesof the Nazarene.

— Robert Croan

   Palm Beach Arts Paper

The Herodias, Page, and Nazarenes were all excellent.

— Jean-François Lejeune

   Opera News

Le Nozze di Figaro

Rafael Porto was stupendous as Don Bartolo. His sua madre scene brought thehouse down!

— Daniel Fernández | El Nuevo Herald

With a resonant bass voice and splendid agility in fast patter, Rafael Porto made his mark early on, with a rousing rendition of his “Vengeance” aria.

— Robert Croan | Palm Beach Arts Paper

Rafael Porto is strong vocally and dramatically. Porto’s powerfully rendered ‘La vendetta’ recalls how Figaro prevented him from marrying Rosina.

— David M. Rice | Classical Source

Secondary roles were all strongly conveyed...Rafael Porto commanded therapid buffo patter for Doctor Bartolo’s aria“La Vendetta.”

— Lawrence Budmen | South FloridaClassical Review

Rafael Porto offered a rollicking portrayal of a potentate reduced to fool. He had much to sing and much to do and did so exceedingly well.

— Peter Jacobi    Herald Times

By contrast, everyone quickly grew to loathe Mustafa, played as a quintessential misogynistic jerk by bass-baritone Rafael Porto, singing with command and arrogance.

— Chantal Incandela 


Rafael Porto sang with power andexpression and was very funny as thehaplessly philandering Mustafa.

— George Walker

   Indiana Public Media


L’italiana in Algeri

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