SELECTED REVIEWS
“I was also taken with newcomers Pablo Bustos, who brought a light but sweetly expressive tenor to the role of the prodigal's father...” Thomas Garvey, The Hub Review (review of Rossi’s Il Figliuol Prodigo, March, 2012)
“Tenor Pablo Bustos was given fewer pyrotechnics but more emotional demands as the stern but loving Father. Bustos remained completely believable throughout, from reserved lecturing at the beginning of the work, through an imploring “Il Consiglio Io T’Offro” (“I Offer You Guidance”) to the blend of consolation and explosive release in “Lascia, O Figlio, Il Tuo Dolore” (“Oh Son, Leave Your Grief”). Bustos’s sweet yet masculine voice and clear diction only heightened these gut-wrenching parts.” Andrew Sammut, The Boston Musical Intelligencer (review of Rossi’s Il Figliuol Prodigo, March, 2012)
“Tenor Pablo Bustos sang the Licenza elegantly, with his own brilliant set of flourishes in the da capo. Bustos was also a compelling and persuasive Scipione...” Liane Curtis, The Boston Intelligencer (review of Agnesi’s La Sofonisba, March, 2011)
“Pablo Bustos sang Scipione and the opening dedicatory aria with a pliant, sweet tenor; he and Rapier are two young voices I look forward to hearing more of.” M. Figg, Blog: Aesthetic, Not Anesthetic (review of Agnesi’s La Sofonisba, March, 2011)
Here’s the kind of stage magic I like – when your tenor can actually PLAY the titular flute. That’s cool. Pablo Cesar Bustos (with a name like that how could he NOT be an opera singer??) was a very fine tenor and a very princely Prince as Tamino, and he was nicely matched with the beautiful Meagan Amelia Brus as Pamina, the daughter of the Queen of the Night (Katherine Gartner Kaplan). Gail Sez: Berkshire Theatre Reviews (review of Mozart’s Magic Flute, January 2011)
“The soloists from within the choir were mostly of modest voice, but several among them, Pablo Bustos, a tenor; Maria Bernius and Ellen Giacone, sopranos; and Jason Steigerwalt, a baritone sang with ear-catching beauty and power.” Allan Kozinn, New York Times (review of Handel’s Ode To St. Cecilia, February, 2008)
“One particular highlight, however, is the Qui tollis in the G-Minor Mass, BWV 235. Tenor Pablo Bustos sings with a grace and ease that belie the difficulty of the passages.” Eric Johnson, American Choral Journal (review of Bach’s Lutheran Masses, CD Recording with the Publick Musick Baroque Orchestra and Chorus, May 2007)
“Tenor Pablo Bustos was given fewer pyrotechnics but more emotional demands as the stern but loving Father. Bustos remained completely believable throughout, from reserved lecturing at the beginning of the work, through an imploring “Il Consiglio Io T’Offro” (“I Offer You Guidance”) to the blend of consolation and explosive release in “Lascia, O Figlio, Il Tuo Dolore” (“Oh Son, Leave Your Grief”). Bustos’s sweet yet masculine voice and clear diction only heightened these gut-wrenching parts.” Andrew Sammut, The Boston Musical Intelligencer (review of Rossi’s Il Figliuol Prodigo, March, 2012)
“Tenor Pablo Bustos sang the Licenza elegantly, with his own brilliant set of flourishes in the da capo. Bustos was also a compelling and persuasive Scipione...” Liane Curtis, The Boston Intelligencer (review of Agnesi’s La Sofonisba, March, 2011)
“Pablo Bustos sang Scipione and the opening dedicatory aria with a pliant, sweet tenor; he and Rapier are two young voices I look forward to hearing more of.” M. Figg, Blog: Aesthetic, Not Anesthetic (review of Agnesi’s La Sofonisba, March, 2011)
Here’s the kind of stage magic I like – when your tenor can actually PLAY the titular flute. That’s cool. Pablo Cesar Bustos (with a name like that how could he NOT be an opera singer??) was a very fine tenor and a very princely Prince as Tamino, and he was nicely matched with the beautiful Meagan Amelia Brus as Pamina, the daughter of the Queen of the Night (Katherine Gartner Kaplan). Gail Sez: Berkshire Theatre Reviews (review of Mozart’s Magic Flute, January 2011)
“The soloists from within the choir were mostly of modest voice, but several among them, Pablo Bustos, a tenor; Maria Bernius and Ellen Giacone, sopranos; and Jason Steigerwalt, a baritone sang with ear-catching beauty and power.” Allan Kozinn, New York Times (review of Handel’s Ode To St. Cecilia, February, 2008)
“One particular highlight, however, is the Qui tollis in the G-Minor Mass, BWV 235. Tenor Pablo Bustos sings with a grace and ease that belie the difficulty of the passages.” Eric Johnson, American Choral Journal (review of Bach’s Lutheran Masses, CD Recording with the Publick Musick Baroque Orchestra and Chorus, May 2007)
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