“Barbera’s Edgardo blended well with Phillips in their subsequent duet, his voice taking on a more declamatory tone when he sang solo lines. The exchange of rings and promise of future letters was sworn by both singers with lyrically believable tenderness. Mr. Barbera’s stylish delivery of the famous tenor aria (“Fra poco a me ricovero”) showed a supple approach with a welcome ring to high notes, as he ended the piece by taking the opportunity for introspective singing piano. Barbera inflected his cabaletta with wrenching emotion before stabbing himself to join his beloved in death.” Opera Today – Salvatore Calomino (2011)

 
“Barbera has a ringing sound – ideal for this role – which he used with conviction. Barbera’s performance was appleaing, such as in the first-act duet with Lucia, “Verrano a te sull’aure,” and the Act II sextet. He was best in the third act, both in the duet with Enrico “Qui del padre” and the final scene’s cavatina-cabaletta. All in all, the effort had a polish that made him seem naturally cast.” Seen and Heard International – James L. Zychowicz (2011)

“Rene Barbera, a third-year tenor from San Antonio, Texas, is already well on his way to wider attention; his natural high tenor brought him three top awards, best male singer, best “zarzuela” interpreter and audience favorite in Placido Domingo’s annual Operalia competition, held last month in Moscow, Russia. A natural bel canto tenor, he made “Povero Ernesto!” his own to open the Donizetti.” Chicago Sun Times – Andrew Patner (2011)

“One breakout star already has triumphed outside Chicago, and that is Rene Barbera, the splendid lyric tenor from Texas, now in his third year at the center, who took top honors in all three male categories at Placido Domingo’s Operalia vocal competition last month in Moscow. Barbera’s plangent, stylish and beautiful singing on Friday, as Ernesto in Act 2 of Donizetti’s “Don Pasquale,” amply justified his sweeping the prestigious global contest.”  Chicago Tribune – John Von Rhein (2011)

“The crowd favorite (and mine) was René Barbera as Ernesto, a true bel canto tenor who has progressed rapidly in a few short years. His bright clarion tone rang true throughout the punishing Povero Ernesto!, eliciting a boisterous response from a packed house.” Chicago Classical Review – Michael Cameron (2011)

“Tenor Rene Barbera handled Tonio’s music with genuine flair (the notorious high Cs of “Ah! mes amis” sounded so easy one expected a cadenza reaching even higher), and his confident, stand-and-sing style was a relief.” Opera News – Judith Malafronte (2011)

“As Tonio, Marie’s peasant lover, the charming tenor René Barbera hit his notorious nine high C’s and considerably more, securely and seemingly effortlessly.” New York Times - Steve Smith (2011)

“Rene Barbera, another promising member of the Ryan Center, was endearing as the ardent Tonio in Donizetti’s bel canto comedy; his plangent tenor nailed the nine high C’s of his aria effortlessly.” Chicago Tribune – John Von Rhein

“…One of Tonio’s arias calls for the tenor to sing a series of nine high C’s — a difficult and punishing feat. So utterly effortlessly did René Barbera render this section that if you weren’t on the lookout for it, it was just another patch of gorgeous melody. Barbera’s velvety, facile voice danced through the rest of the score with equal ease.” River Front Times – Lew Prince (2011)

“…tenor Rene Barbera … has a thrilling voice, rich in what the Italians call squillo, the ringing, trumpet-like sound that so excites the ear. His account of “Ah! mes amis” – the one with the famous nine high C’s – was tossed off with such apparent ease that some might wonder what all the fuss is about. Barbera… projected a thoroughly endearing persona.” St. Louis Today – Sarah Bryan Miller (2011)

“René Barbera as Tonio is the standout voice in this production and is bound for a great career. Barbera’s strong yet flexible tenor voice sounds at home in Donizetti music. Even with the opera being performed in English his Ah! My good friends (Ah! mes amis) was impeccable.” Opera Pulse (2011)

“Second-year tenor Barbera’s way with an aria from Donizetti’s “La Favorita” was a fine example of bel canto refinement. His artistic development continues apace.” Chicago Tribune – John Von Rhein (2010)

“First-year tenor René Barbera continues to be the Center’s secret weapon; he eats up the high, lyric roles and always looks as if he is having a terrific time.”  Chicago Sun Times – Andrew Patner (2010)

“Barbera brought out a warm and wonderful Italianate sound in the very operatic No.2, “O quam tristis et afflicta” (“O how sad and sore distressed”). His evenly supported voice and precisely focused intonation were a delight. His sustained high note in the ending line “nati poenas inclyti” was breath-taking.”  CVNC - William Thomas Walker (2010)

“… it was immediately clear that here was a major new talent. Without closely mimicking the sound of any famous tenor, Barbera has his own distinctive, warm, and winning timbre. He has even, total control of dynamics from a hushed pp to a literally hall-shaking forte. His voice is evenly supported across its range, and his intonation is outstanding. His ringing high notes were outstanding, especially in this aria with its 9 high C’s!! His French diction was impeccable…

The sad melody played by bassoonist Carol Bernstorf and harpist Helen Rifas over pizzicato strings set the mood for “Un furtiva lagrima” from Donizetti’s L’Elisir d’Amore. Barbera phrased this with perfectly judged simplicity that was all the more effective because of his restraint.

… Barbera added a cynical, self-satisfied facial expression to convey the anti-hero character of the Duke of Mantua as he tossed off ringing highs in “La donna è mobile” from Verdi’s Rigoletto. The aria’s gleaming melodies belie the character’s “love’m and leave’m” attitude toward women. The prolonged standing ovation was rewarded by an encore, “Core’ngato” (“Unfaithful Hearts”), a Neapolitan song by Salvatore Cardillo. The orchestral introduction seemed to paint a vista worthy of a Panavision movie, and it gave everyone one more chance to savor Barbera’s glorious tone.” CVNC - William Thomas Walker (2008)