As Dr Grenvil in Clagary Opera's La Traviata (2022)
"The minor roles were also strongly handled, notably Matthew Trevino as Doctor Grenvil, whose ample voice and expressive singing made one wish his part was more than a cameo role."
As Seneca in Monteverdi's L'incoronazione di Poppea (2019)
"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
"Another attention-getter is bass Matthew Treviño, who cuts an imposing figure as the doomed Seneca."
As the ghost in Getty's Canterville Ghost (Pentatone recording, 2017)
"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
As the Client in AOP's production of Three Way at BAM (2017)
" 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
As Raimondo in Opera Colorado's Lucia di Lammermoor (2017)
"Supporting roles included Matthew Treviño's Raimondo, delivering a robust basso and a stunning description of the murder scene"
- Opera News
As The Client in Nashville Opera's world premiere of Three Way (2017)
". . . Treviño is outstanding as the “Client”
- The Tennessean
Mr. Treviño's robust and impactful bass voice led us through a fairly dense narrative"
As Mr P in The Man Who Mistook His Wife For A Hat (Naxos Recording 2016)
"...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
"His Mellifluous bass at once robust and gentle, Matthew Treviño is convincing as the patient."
- Opera Magazine
"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."
As Sparafucile in Hawaii Opera Theatre's Rigoletto (2016)
"Matthew Treviño was a dashingly dark assassin, Sparafucile, his long, low note a muted threat as he slowly exited."
-The Honolulu Star Advisor
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."
As Sparafucile in Vancouver Opera's Rigoletto (2015)
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
As the King in Aspen Festival's Aida (2015)
“Bass Matthew Treviño made a noble young king.”
- Aspen Times
As Hobson in English National Opera's Peter Grimes (2014)
"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."
"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."
- 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’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
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."
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.”
As Commendatore in Fort Worth Opera’s Don Giovanni (2010)
"Matthew Treviño's creepy Commendatore made a big, impressive sound."
As Angelotti in Nashville Opera’s Tosca (2009)
"Matthew Treviño, the Angelotti, sang impressively, with velvety legato."