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
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
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
Rafael Porto’s firm bass exuded fire in The Bonze’s denunciation of Cio-Cio San for her conversion to Christianity.
South Florida Classical Review
Rafael Porto as the Sacristan and Jailer gave sturdy, effective performances.
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
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