Reviews for Tancredi in Rouen

“S’il faut une révélation à la soirée, elle a pour nom Santiago Ballerini, qui interprète Argirio : un métal que n’entache aucune nasalité – talon d’Achille du ténor rossinien ; une émission haute et souple ; une technique servie par une intelligence du chant qui lui permet de surmonter à sa manière les passages les plus périlleux ; une maîtrise du style avec l’usage de demi-teintes et d’effets bienvenus – ah ! la messa di voce qui introduit « Pensa che sei mia figlia » (en ligne sur YouTube) – un tempérament enfin, une fougue qu’il doit apprendre à contenir pour tenir la distance et éviter que la cabalette de son dernier air – le magnifique « Ah ! segnar invano io tento  » – et le duo suivant n’en payent les conséquences.”

Forum Opéra

“Une autre bonne surprise est le ténor argentin Santiago Ballerini, qui se taille également un beau succès personnel dans le rôle d’Argirio (le père d’Amenaïde). Il se révèle en effet étourdissant dès son air d’entrée, insolent dans la colorature, notamment dans son grand air “Ah ! Segnar invano io tento”, hérissé de contre-Ut et contre-, tandis que  l’acteur se montre aussi particulièrement investi.”

Classique News

“L’Argirio di Santiago Ballerini ha la straordinarietà di giocare sui trapezi del belcanto senza risparmiarsi. Questo tenore argentino ha compiuto, come padre di Amenaide, un percorso da vero atleta del respiro.
Che grande tecnica, anche quando gli accenti e le note sovracute non concedevano un solo istante di pausa. Sentirlo nell’interpretazione “Pensa che sei mia figlia” o nel duetto con Tancredi/Iervolino “Ah, se de’ mali mie” è una vera e propria goduria. Nell’aspetto attoriale ricorda l’immenso Mario Del Monaco: postura, gesto, sguardo mai vinto anche quando sofferente giunge alla prigione della figlia. In quella della vocalità ricorda il piglio ed il fraseggio di Raúl Giménez. Un fraseggio molto interessante quello di Ballerini, l’italiano giunge perfetto clamorosa la sua “messa di voce”, da vero maestro.”


Arizona Opera delivers uproarious laughs in Tucson ‘Barber’ opening  night

Arizona Opera‘s uproariously funny new production of “Barber” took the composer’s ha-ha factor to a whole other level courtesy of a supremely talented cast with the comic timing of veteran sitcom actors. […] Tenor Santiago Ballerini as Count Almaviva showed off some impressive coloratura as he and the chorus tried to serenade Rosina from the street beneath her window.”

Arizona Daily Star

Photo: Tim Trumble

La Rondine in Turin

“Face à Rojas, Santiago Ballerini, interprète le rôle de Prunier d’une voix sonore, plus brute, plus volontaire aussi alors qu’il démarre l’air de Doretta. Son arietta au premier acte (« Forse, come la rondine ») est luxueux. Il sait, à tout moment, jouer de l’ambiguïté de l’ami de Magda, de sa part de cynisme de ce fêtard certes peu scrupuleux, mais conseiller réaliste de la jeune femme. Aussi roublard que Ruggero est modeste, il habite la scène dès qu’il est présent et n’est pas avare en très beaux aigus (à revoir).”

Cult News

“Al suo fianco Santiago Ballerini è un ottimo Prunier, brillante e musicale, con una linea di canto assai elegante e dal canto facile e sicuro.”

GB Opera

“Buona prova sia di Santiago Ballerini che interpreta il poeta (macchinatore) Prunier…”


“Meglio il Prunier di Santiago Ballerini, spigliato vocalmente e scenicamente, con una sicura linea espressiva e già ammirato nel repertorio della zarzuela.”

L’Opera oggi

“Nelle parti di contorno, che assumono in quest’opera un impegno quasi protagonistico, si ammira la freschezza semplicistica ma efficace del tenore Santiago Ballerini”

Connessi all’opera

New production of ‘La Rondine’ at Teatro Regio di Torino

Santiago Ballerini returns to Teatro Regio di Torino for performances of Puccini’s La Rondine on November 17, 19, 22, 26. The theater inaugurates the 2023 season with a new production by Pierre-Emmanuel Rousseau that shifts the action to 1973 to pay tribute to the 50th anniversary of the new Regio and to evoke the glamour of the years of Yves Saint-Laurent, Brigitte Bardot, Romy Schneider and Alain Delon.

Francesco Lanzillotta conducts the Orchestra e Coro Teatro Regio Torino and a star-studded cast, including Olga Peretyatko as Magda, Valentina Farcas as Lisette, Mario Rojas as Ruggero Lastouc, Vladimir Stoyanov as Rambaldo Fernandez, Matteo Mollica as Périchaud, Pawel Żak as Gobin, Rocco Lia as Crébillon, Amélie Hois as Yvette, Irina Bogdanova as Bianca, and Ksenia Chubunova as Suzy.

Il turco in Italia in Buenos Aires

Photo: © Prensa Teatro Colón / Máximo Parpagnoli

“Santiago Ballerini nella difficilissima parte di Don Narciso ha dispiegato le sue doti di interprete belcantista: bel colore, timbro brillante e interpretazione più che convincente. Indubbiamente una carriera che sta avanzando in modo stabile e deciso nei teatri del mondo per il tenore di origine argentina.”

L’Ape Musicale

“Le ténor argentin Santiago Ballerini donne à Don Narciso, un autre client du Grand Hôtel amant de Fiorilla, une voix élégante, homogène et volubile. Ses puissantes projections sont facilitées par une articulation ouverte et audible.”


“El tenor Santiago Ballerini en la dificilísima parte de Don Narciso derrochó calidad de intérprete belcantista, bello color vocal, timbre brillante y actuación más que convincente. Sin dudas una carrera que avanza firme y decidida por los teatros del mundo del tenor nacido en Argentina.”

Pro Ópera

Role debut in Rossini’s ‘Il turco in Italia’ at Teatro Colón

Santiago Ballerini begins the 2023/24 season with his debut as Don Narciso in Rossini’s Il turco in Italia at Teatro Colón. Marking his 40th role debut, Ballerini stars in this beloved work, appreciated for its humor, catchy melodies, and satirical take on the foibles of human relationships and cultural differences. Rossini’s mastery of comic opera shines in this delightful work.

Performance dates include September 5, 7, 10 & 12. Pablo Maritano conducts a top-notch roster of singers, including Erwin Schrott as Selim, Irina Lungu as Fiorilla, Fabio Capitanucci as Geronio, Germán Alcántara as Prosdocimo, Francesca di Sauro as Zaida, and Santiago Martínez as Albazar.

Poliuto at Teatro Nuovo

“Tenor Santiago Ballerini sang the title role. His light yet sonorous voice lent itself well to Bel Canto singing, and he is one of the era’s top interpreters. He had excellent agility as he moved through the fioritura and had no issues sending his voice over the orchestra. Most impressive was his use of dynamics and head voice. He went from full-throated fortes to the gentlest pianissimos with utmost surety. Lehmann gave plenty of room for each singer to take their time, and Ballerini certainly did so without seeming overdramatic. Lehmann’s colla voce approach toned down the band or extended pauses. This allowed Ballerini to show off what was a mystifying head voice of such gentle persuasion of the dramatic significance of the passage that left little doubt about what he was expressing. Likewise, the more intense sections where the tone and shading of the lines were an emotional barometer.”


“The well-coached principal singers brought legato elegance and dramatic intensity to their roles. Tenor Santiago Ballerini was a splendid Poliuto, stylishly balancing his furious outbursts with his intimations of the divine, especially in his Act 2 aria.”

The Wall Street Journal

“Santiago Ballerini’s lyric tenor has the thrust and brilliance to express Poliuto’s quicksilver emotional turns – heroism, romantic ardor, all-consuming jealousy, compassion and religious fervor – with both artistry and passion. Ballerini was equally compelling dramatically with a stoic, commanding presence that befitted both a Roman soldier and a Christian martyr.”

Seen and Heard Internationally

“Ballerini had no difficulties with the exacting title role and his tone is naturally brilliant, warm and Italianate.  He was very much the star of the evening.  Ballerini’s broad breath span, intensely focused tone and brilliant overtones filled out the music beautifully and vividly delineated Poliuto’s conflict between marital jealousy and Christian devotion.

In the protagonist’s second act scena, Ballerini effectively enacted Poliuto’s emotional conflict by alternating between a sweet mezza voce and darker declamatory phrasing.  Lehnea and Ballerini brought the Act III final duet to moving life with brilliant singing and sensitive and deeply committed interpretations.”


“All ears were on the star tenor, Poliuto, here sung by Santiago Ballerini… his youthful, full, large-lyric sound filled the hall. A hero after all, his second-act aria, a grand display of strength (a serious precursor of Verdi’s grand tenor roles) which was performed uncut, was capped by the type of high Cs that people recall for months. His last-act duet with Paolina rocked the house.”

Classics Today

“I wished the tenor had more to do before the second of three acts (when Ballerini blew the roof off)…”

Broadway World

Title role debut in Donizetti’s ‘Poliuto’ with Teatro Nuovo

On July 15 & 19, Santiago Ballerini makes his greatly anticipated title role debut in Donizetti’s Poliuto with Teatro Nuovo. Marking his eighth Donizetti role – Mr. Ballerini has sung the prolific composer’s music the most throughout his career. Poliuto is based on the tragedy “Polyeucte” by French playwright Pierre Corneille and features a libretto by Salvadore Cammarano. The opera is notable for its dramatic storyline and beautiful music.

Jakob Lehmann conducts the Teatro Nuovo Orchestra and Chorus and a top-notch cast, including Chelsea Lehnea as Paolina, Ricardo José Rivera as Severo, Hans Tashjian as Callistene, Krishna Raman as Felice, Robert Kleinertz as Nearco, James Danner as A Christian, and Louise Floyd as Another Christian.

Lucia di Lammermoor in Cincinnati

Photo: Philip Groshong

“In his company debut as Edgardo, Argentine tenor Santiago Ballerini displayed an ardent voice and a charismatic stage presence. His passion was believable. Who could resist his proposal, when he dropped to a knee, took out a ring and threw the box over his shoulder?

The couple’s Act I duet was magical. When Edgardo learned of Lucia’s death, his desperation was palpable in his final farewell, sung against a blood-red moon, “Tu che a Dio spiegasti l’ali” (“You have spread your wings to heaven.”)”

Cincinnati Business Courier

“Tenor Santiago Ballerini as Edgardo gave a performance that possessed the qualities of a future superstar on the opera world, with clarion-like power akin to Juan Diego Florez and the relaxed sensuality of Luciano Pavarotti.”

Classical Concert Reviews