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Raymond Aceto Bass

News, Reviews & Features

Critical Acclaim

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