MATTHEW TREVIÑO

As Seneca in Monteverdi's L'incoronazione di Poppea (2019)

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"Matthew Treviño depicted the man of knowledge with technical assurance, dignity, and imposing vocal resonance Treviño sang ‘Itene tutti, a prepararmi il bagno’ nobly, relinquishing Seneca’s life to imperial prerogative with a majestic low D."

- Voix de Arts​

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"Another attention-getter is bass Matthew Treviño, who cuts an imposing figure as the doomed Seneca."

 -Shepard Express

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As Caronte in Monteverdi's L'Orfeo (2017)

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"And honesty and impeccability describe the work of the gaggle of great singers, chief among them the bass, Matthew Trevino, Caronte (Kharon in Greek), ferryman across River Styx, laying down the law to Orfeo...

- Oregon ArtsWatch

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As Caronte in Monteverdi's L'Orfeo (2017)

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"Doug Dodson’s very high, clear countertenor as Speranza contrasted with the rich, resonant and impossibly low bass of Matthew Trevino"

- The Sun Break

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As the ghost in Getty's Canterville Ghost (Pentatone recording, 2017​)

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"Matthew Treviño as the Ghost is particularly impressive, and brings plenty of light and shade to his beautiful description of his looked-for death."

- Music Web International​

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As the Client in AOP's production of Three Way at BAM (2017)

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"The plot has many twists and turns—some humorous, some anything but— including some surprises. The chromatic shifts of harmony and mood in this act made for the most intriguing music of the evening. Mezzo-soprano Eliza Bonet (Mistress Salome) and bass-baritone Matthew Treviño (The Client) were perfectly paired, providing musical power and dramatic excellence. On every level, this was a captivating performance."

- Opera News

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As Raimondo in Opera Colorado's Lucia di Lammermoor​ (2017)

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"Supporting roles included Matthew Treviño's Raimondo, delivering a robust basso and a stunning description of the murder scene"

- Opera News

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As The Client in Nashville Opera's world premiere of Three Way (2017)

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". . . Treviño is outstanding as the “Client”

- The Tennessean

 

"The Client's character demands a very wide scope of contradictory emotion in just one act, and Mr. Trevino seamlessly moves through that scope – even when he's in a dolly dress and a wig of ringlets while singing a rather sinister aria. Mr. Treviño's robust and impactful bass voice led us through a fairly dense narrative"

- Schmopera.com

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As Mr P in The Man Who Mistook His Wife For A Hat (Naxos Recording 2016)

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"Bass Matthew Treviño has fun with Dr. P’s cartoonishly adorable activity ditties, and he has an amusing little buffa patter aria in which he stutters out the names of Platonic solids (e.g. “It’s a te-te-te-te-te-te-tetrahedron”). Nyman also inserts references to Schumann at several points, notably Dr. P’s complete performance of “Ich grolle nicht” embedded in Scene III, which Treviño executes with a buzzing vibrato that sounds marvelous." 

- Opera News

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"His Mellifluous bass at once robust and gentle, Matthew Treviño is convincing as the patient." 

- Opera Magazine​

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"Treviño’s singing... is unstintingly powerful, his ruggedly attractive timbre deployed with full cognizance of the ways in which the basic sound of the voice influences the ways in which the words greet listeners’ ears"

- Voix Des Arts

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"Matthew Treviño sings Dr. P in a beautiful, articulate portrayal of The Man himself. Mr. Treviño, who is well-received in comedic roles, does well to give Dr. P sensitive authenticity without nearing ridiculousness – a challenge, probably, but without strain. Mr. Treviño's honeyed, melting bass voice is best showcased in one of the opera’s climactic moments: the scene in which Dr. P sings Robert Schumann’s "Ich grolle nicht". Throughout the recording, Mr. Treviño’s diction is crisp and distinct, allowing us to really consume the libretto." 

-Schmopera.com

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As Sparafucile in Hawaii Opera Theatre's Rigoletto (2016)

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"Matthew Treviño was a dashingly dark assassin, Sparafucile, his long, low note a muted threat as he slowly exited." 

-The Honolulu Star Advisor​

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As King in Utah Opera's Aida (2016)

 

"Basses Derrick Parker as Ramfis, Matthew Treviño as the King of Egypt and baritone Alfred Walker as Amonasro gave bravura performances. Sadly, their roles seemed all too short." 

-Opera News

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As Ashby in Opera Omaha's La Fanciulla del West (2016)

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"Matthew Treviño gave a solid perfromance as Ashby." 

-Opera News

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As Sparafucile in Vancouver Opera's Rigoletto (2015)

 

"Matthew Treviño as Sparafucile and Carolyn Sproule as Maddalena were excellent as the sinister brother and sister with their humanizing touches; the former with his perverse professional pride and the latter with her weakness for a handsome young nobleman.

Mr Treviño possesses a fine bass voice and sang with authority throughout, including his spot-on low note upon exiting his early encounter with Rigoletto. Ms Sproule displayed a pliable mezzo voice and was convincing as a floozy ‘with a heart’. Both she and Mr Treviño proved gratifyingly natural actors.”

-Vancouver Classical Music

 

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As the King in Aspen Festival's Aida (2015)

 

“Bass Matthew Treviño made a noble young king. . . ”

- Aspen Times

 

 

“Bass Matthew Treviño and tenor Landon Shaw II used strident declamation, good diction and excellent acting—not to mention the appearance of handsome young mafiosi—to make the most of their cameos as the King and the Messenger.”

- Opera Today

 

 

As Hobson in English National Opera's Peter Grimes (2014)

"The supporting cast were also very good with Matthew Trevino’s Hobson and de Pont Davies’ Auntie being the two stand outs for me. Trevino brought considerable resonance and vocal heft to the role and there was a warmth and lovely dark timbre to his Act 1 duet with van den Heever."

- Seen and Heard International

 

"Matthew Treviño revealed a dark, focused, highly attractive bass as Hobson, the carrier."

- Boulezian

 

"Matthew Best’s excellent Swallow and Matthew Trevino’s Hobson both leave an indelible impression."

- The Stage

 

 

As Mr P. in Nashville Opera’s The Man Who Mistook His Wife For A Hat (2013)

"Bass Matthew Treviño is the embodiment of grace as Dr. P. That doesn’t mean we don’t see the downside of his character’s medical condition – it’s just that he’s so masterfully made us care about Dr. P that when the terrible price of his affliction appears our hearts break. And oh, that voice – strong for the rendition of a song from Robert Schumann’s Dichterliebe, supple for the poignant description of an image in “The River” and smooth throughout. Listening to him I felt as if I was wrapped in a soft, warm velvet blanket."

- Arts Nashville

 

"And Matthew Treviño is simply mesmerizing as Dr. P, delivering a thoughtful interpretation of both his character and Nyman’s compelling score. Together with Sjöwall, Treviño demonstrates Dr. P’s use of music as a coping mechanism. No longer able to trust his eyes, he relies on his music to create structure and manage routine activities such as eating and dressing. Their chemistry in “The Dressing Ritual” speaks volumes. Another highlight is Treviño’s stirring performance of Robert Schumann’s “Ich Grolle Nicht,” which dovetails nicely with Dr. P’s tragic story. “I bear no grudge even though my heart is breaking,” he sings, without a trace of irony."

- The Tennessean

 

 

As Sparafucile in Baltimore Opera’s Rigoletto (2013)

"Colorful contributions came from the rest of the cast, especially Matthew Trevino as the coldblooded hit man Sparafucile"

- The Baltimore Sun

 

"Matthew Treviño was a wicked Sparafucile, with fine low notes..."

- Washington Post

 

"Treviño fills out the robust sound of the baritone character here with a perfectly tuned polish to his voice. Doubling up later as Sparafucile, the merciless assassin, Treviño’s voice slides deeply into the bass range, providing a glorious sound for all to hear during his encounter with Rigoletto, A bold and boisterous sounding voice that repeats itself over and over in Act III when the assassin is encountered once more, first in scenes with his sister then again with Rigoletto; a superior sound if ever there was one to be heard from a bass."

- DC Metro Theater Arts

 

 

As Leporello in Opera Colorado's Don Giovanni (2013)

"The palm, however, goes to bass Matthew Trevino as Leporello. The audience fell in love with him from the outset, and his rendition of the famous "catalog" aria, playing beautifully off Moore, will be hard to forget. "

-The Daily Camera

 

"All of the principal singers had moments of humor, beautiful singing, and several of the ensemble musical numbers came together splendidly. Christopher Magiera's Don Giovanni and Matthew Trevino's Leporello made a classic comic duo, and delivered all of their many recitativo scenes with wonderful pacing and humor. Trevino hammed it up in the Act 2 serenading scene, and both were lively stage animals throughout the show. "

-The Examiner

 

"Vocally, this was a consistently solid group. Magiera and Treviño delivered rich, powerful baritones"

- Opera News

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As Sarasto in Opera Theatre Company's Magic Flute (2011/12)

“But it was bass Matthew Treviño who truly galvanized attention: his Sarastro was magnetically sung and acted, an eerily hermetic presence with an insinuatingly malevolent agenda (he manhandles Pamina creepily during one aria). Sarastro’s part goes very low musically, but Treviño’s bottom Fs were unpinched and beautifully supported, his sonorous, burnished tone and clear enunciation a source of constant pleasure."

-Irish Theatre Magazine

 

"Vocally this Flute made a very positive impression, pivoting round the superbly sung Sarastro of the young Texan Matthew Treviño, a genuinely deep-sunk bass of seamless evenness throughout the register. It’s an immaculately schooled voice."

-Opera Britannia

“Matthew Trevino offers sustained vocal dignity as Sarastro.”

-The Irish Independent News

 

 

As Don Giovanni with Opera Naples (2012)

"For much of the 2 1/2 -hour Opera Naples production last weekend, Trevino was onstage and relishing the rake's role every minute of it. Melodic, devilishly charming and expressive, Trevino was a perfect choice for Opera Naples' — and his own — premiere of the work. His portrayal was ear and eye candy for the audience."

-Naples News

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As Dr. P in Austin Lyric’s The Man Who Mistook his Wife for a Hat (2010)

“To my mind and ears, however, bass Matthew Treviño stole the show as Dr. P. His rich voice and embodiment of the character drew me in and didn’t let go.”

-Classically Austin

 

 

As Commendatore in Fort Worth Opera’s Don Giovanni (2010)
"Matthew Treviño's creepy Commendatore made a big, impressive sound."

-Opera News

 

 

As Angelotti in Nashville Opera’s Tosca (2009)

"Matthew Treviño, the Angelotti, sang impressively, with velvety legato."

-Opera News

 

 

As Basilio in Caramoor Music Festival’s Il barbiere di Siviglia (2008)

"Don Basilio...the bass Matthew Treviño in a delightfully unctuous portrayal"

-New York Times