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Anderson Barbosa - BASS
Tannhäuser at the Theatro Amazonas in Manaus
In relief a musical and interpretative beauty of the character "Hermann, landgrave in Tannhäuser” by Richard Wagner.
l'Opera Magazine
Tannhäuser at the Theatro Amazonas in Manaus
Also noteworthy was bass Anderson Barbosa as Hermann, the Count of Thuringia.
Nelson Rubens Kunze
Concert Magazine
Don Giovanni at the Theatro da Paz in Belém do Pará
It is important to note, however, the excellent performance of the young artists "Anderson Barbosa" as the Commander.
Nelson Rubens Kunze
Concert magazine
Don Giovanni at the Theatro da Paz in Belém do Pará
Bass Anderson Barbosa, who was the Commendatore at the beginning of the opera and returned at the end as the latter's ghost incarnated in his statue, made the most of his opportunity, especially in the final scene (Don Giovanni, a cenar teco). Gifted with a powerful voice, striking in timbre and excellent projection, the artist exercised his right to steal the show, dominating it solely through the expressiveness of his singing, considering the statue's naturally restrained gestures. A voice, in short, to be accompanied by.
Leonardo Marques
movimento.com
Don Giovanni at the Theatro da Paz in Belém do Pará
The São Paulo bass Anderson Barbosa also did well, who played the Commendatore and his ghost, also performed brilliantly. With his powerful voice and beautiful timbre, he dominated the final scene, terrifyingly, with the aria Don Giovanni, a cenar teco—and only with his voice, since even his face was in shadow and his gestures were reduced (comme il faut to a statue).
Fabiano Gonçalves
movimento.com
Don Giovanni at the Theatro da Paz in Belém do Pará
Anderson Barbosa, in turn, is a Commendatore with multiple resources.
John Luiz Sampaio
Estadão
Don Giovanni at the Theatro São Pedro in São Paulo
Regarding the singers' vocal performances, there's much to highlight. Anderson Barbosa embodied (and, well, disembodied...) an imposing Commander: his voice projected beautifully, voluminous, and somber in the cemetery and banquet scenes, with good bass and treble notes that never sounded forced.
Erico de Almeida Mangaravite
movimento.com
La Belle Hélène at the Theatro São Pedro in São Paulo
The most consistent performance of the night was that of bass Anderson Barbosa, who played the oracle Calchas with excellent projection and a beautiful timbre – qualities I had already noticed in Belém, when I heard him as the Commendatore in Don Giovanni.
Leonardo Marques
movimento.com
La Belle Hélène at the Theatro São Pedro in São Paulo
They stand out, for their greater security and the presence of better technically resolved voices, especially bass Anderson Barbosa as Calchas.
João Luiz Sampaio
Concert magazine
Breakthrough Voice 2017: Anderson Barbosa, bass, for his Comendatore (Don Giovanni, Theatro da Paz) and for his Calchas (La Belle Hélène, Theatro São Pedro)
movimento.com
Die sieben Todsünden at the Theatro São Pedro in São Paulo
In the male vocal quartet, bassist Anderson Barbosa stood out as Mother.
Nelson Rubens Kunze
Concert magazine
Die sieben Todsünden at the Theatro São Pedro in São Paulo
I was surprised by the presence and voice of bass Anderson Barbosa as Mother.
Ligiana Costa
Concert magazine
Afiador de Facas at the Teatro Padre Bento in Guarulhos
Bass Anderson Barbosa played the role of the Alzheimer's-suffering Knife Sharpener, also with a beautiful voice and presence.
Nelson Rubens Kunze
Concert magazine
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