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Raymond Aceto Bass
Quotes, Reviews & Features
Critical Acclaim
Wagner’s Die Walküre
“His was a tremendously convincing performance: vocally, his penetrating bass voice never faltered.”
Marina Romani, Musicalcriticism.com, June 12, 2010
Verdi’s Nabucco
“…it was here that we were introduced to the production's most consistently strong voice and dramatically ardent performer, the agile bass Raymond Aceto as the high priest Zaccaria.”
Anne Marie Welsh, North County Times, February 24, 2010
“Aceto is a real bass, with a distinctive low voice that has both a pleasantly buzzing edge and a focused center.”
Marcus Overton, San Diego Union-Tribune, February 22, 2010
“He’s (Aceto) ready from the get go and consistently delivers throughout the opera, displaying exceptional depth in each of his three arias. The lines are controlled, the voice is rich and the projection full-bodied. Likewise, the energy in Verdi’s Nabucco is heard in Zaccaria’s initial dialogue with Timothy Todd Simmons’ chorus members. It is grand.”
Christie Grimstad, ConcertoNet.com, February 2010
“Raymond Aceto was an energetic Zaccaria with an impressive range. His resplendent voice flooded the hall with exciting sound.”
Maria Nockin, Music & Vision, February 2010
“Aceto had sung the part of the High Priest of Baal when this production was mounted in Chicago, but his voice is clearly able to handle Zaccaria’s three quite different major arias, each of which is a masterpiece in its own right. Two of the arias are in the bel canto style. The third, the Preghiera, heralds Verdi’s new directions for the basso voice, exemplified in such roles as Banquo in “Macbeth”, Fiesco in “Simon Boccanegra” and similar roles of his more mature style.”
William Burnett, Opera Warhorses¸ February 2010
“Bass Raymond Aceto as the High Priest Zaccaria reached his peak with a beautifully sung invocation to God, accompanied with melting tone by the orchestra’s cello section. Aceto is a real bass, with a distinctive low voice that has both a pleasantly buzzing edge and a focused center.”
Marcus Overton, San Diego Union-Tribune, February 2010
“Equally commanding as the Hebrew High Priest Zaccaria was bass Raymond Aceto, whose thrilling low notes resonated mightily. His tender duets…brought out the suave, lyric qualities of Aceto’s ample basso profundo.”
Kenneth Herman, San Diego.com, February 2010
“The High Priest of Jerusalem, Zaccaria, was superbly sung by bass Raymond Aceto; he gave weight to the role with a deep, authoritative voice that conveyed dignity and inner strength in every phrase.”
David Amos, SD Jewish World¸ February 2010
“Aceto displayed both strength and suppleness as he linked notes with seamless legatos and shaped melismatic passages with care. Let’s hope San Diego Opera signs him for a future engagement.”
Valerie Scher, San Diego New Network, February 2010
Mozart’s Don Giovanni
“Raymond Aceto thundered effectively as the Commendatore…”
William Albright, Opera, February 2007
Verdi’s Simon Boccanegra
“Raymond Aceto’s remarkable basso, dark-hued and firmly centered, rang out passionately in the music. The real hero of the evening, he sang with such power and authority.”
Ed Tapper, Edge, Feburary 2009
“Raymond Aceto provided a craggy-toned, sensitively-phrased Fiesco.”
William Albright, Opera, February 2007
“As Fiesco, bass Raymond Aceto displayed a lovely range of vocal color and did not hesitate to sing softly.”
Marcia J. Citron, Opera News, January 2007
“[Raymond] Aceto was strong as Fiesco. When his bass notes rumbled, they rumbled authoritatively.”
Charles Ward, The Houston Chronicle, October 2006
Beethoven’s Symphony No. 9
“Raymond Aceto sang with deep resonance and rhetorical force as the bass soloist.”
Jeremy Eichler, Boston Globe, August 2007
“Raymond Aceto sounded the summons to joy with heroic effect.”
Andrew L. Pincus, Berkshire Eagle, August 2007
“Raymond Aceto was the wonderfully imposing bass soloist, issuing his artistic call to arms in ringing tones…”
Joshua Kosman, The San Francisco Chronicle, June, 2005
Massenet’s Manon
“Raymond Aceto is appropriately grave and powerful as Des Grieux's father.”
Jay Furst, Post-Bulletin, October 2008
Rossini’s Il Barbiere di Seviglia
“Raymond Aceto made as big an impression with the sheer quality of his voluminous bass as he did with his dramatic portrayal of Basilio [Il barbiere di Seviglia], once more centered in the traditional comic-grotesque mode.”
George Hall, Opera News, March 2006
Mussorgsky’s Boris Godunov
“His smooth, textured, velvet voice and acting chops perfectly capture the wise -- and later wily -- character.”
D.L. Groover, Houston Press, October 2005
Verdi’s Luisa Miller
“Raymond Aceto did well as Rodolfo’s conniving father Count Walter; his deep bass filled the cavernous Fair Park Music Hall.”
Willard Spiegelman, Opera News, April 2005
Verdi’s Aida
“Raymond Aceto delivered Ramfis’ priestly platitudes with a deep, saturated bass sound…”
John von Rhein, Chicago Tribune, October 2004
“ As the high priest Ramfis, Raymond Aceto was equally memorable, his rolling, black bass especially frightening, as the sounds of Radames’ trial wafted from un underground chamber into the dark, fire-lit hall where the tormented Amneris paced.”
Wynne Delacoma, The Chicago Sun-Times, October 2004
Wagner’s Das Rheingold
“With presence and depth, and Raymond Aceto's Fafner smoldered with quiet contempt for his
lovesick brother, Fasolt.”
Wynne Delacoma, The Chicago Sun-Times, October 2004
Verdi’s Requiem
“Raymond Aceto sang phrases with vivid, vibrant tones that were at once supplications and challenges.”
Chris Schull, Star Telegram, April 2008
“Raymond Aceto let forth great, sinister statements with a bass of dark focus”.
Donald Rosenberg, The Plain Dealer, June 2004
“…Raymond Aceto made a youthful, vigorous devil with his big, glamorous bass and just a hint of world-weariness around the eyes.”
T.J. Medrek, Boston Herald, May 2004
Bizet’s Carmen
“One of the evening's few effective pieces of stage business was Escamillo's triumphant entrance, resplendently attired in a purple shirt, and his subsequent "Votre toast" (the toreador song), stirringly performed by Aceto. The American bass has a magnificently warm, round and full voice, coupled to a compelling stage presence.”
Carl Byron, OperaNews, November 2008
“In the title role [of Mefistofele], Raymond Aceto had both a commanding presence and plenty of poise, so his persistent irony was thoroughly convincing.”
Lloyd Schwartz, The Boston Pheonix, May 2004
“Vocal presence was the province of bass Raymond Aceto, whose portrayal of the lecherous Lieutenant Zuniga was every bit as a commanding as his dark glasses and leather boots suggested.”
Joshua Kosman, San Francisco Chronicle, June 2002