Gustavo Feulien – The inner voice of a baritone

Gustavo Feulien is one of the many good surprises of the last few months in New York.

Barítono enamorado de la ópera descubre una nueva pasión

El argentino Gustavo Feulien da vida a Mario en “La leyenda del beso.”
La fase actoral de la zarzuela ha hecho que el carismático artista renueve su amor por el canto lírico. (Xavier J. Araújo Berríos)

Successful debut Aleko & Pagliacci - New York City Opera.

New York City Opera Presents a Historically Interesting Double-Bill of “Aleko” and “Pagliacci”

“Baritone Gustavo Feulien, presented a most imposing Silvio with sharp, powerful gestures in both his acting and singing; his duet with Cambio was both ardent and tender.”

New York Times, Review: Signs of Rebirth at New York City Opera

“The youthful baritone Gustavo Feulien, as Silvio, the villager Nedda falls for, makes the most of his intense scene with her”

New York Classical Review: In “Aleko” and “Pagliacci,” New York City Opera finds its stride

“the love scene with Silvio, rakishly sung by Gustavo Feulien, drew bravos from many in the audience”

NYC Opera´s Double Bill: Stick Around After Intermission

“Gustavo Feulien made you wish that his character had more to sing”

“The Trial of Don Giovanni” to celebrate of the 225th Anniversary of the New York Supreme Court.

To commemorate the 225th Anniversary of the U.S. District Court for the Southern District of New York, a program originally created for the ABA by Shelly Finkelstein, “Don Giovanni: The Class Action“, was presented on October 19, 2015.
The singers were provided by Kennedy Center Award recipient Martina Arroyo who was in attendance.

BWW Review: An Opera Grows in Brooklyn, Part I - LoftOpera Takes on TOSCA. read...

At LoftOpera´s “Tosca” Go for the Arias, Not the Express to Albany. read...

NY times:Wearing boots and a leather jacket in Act I and a suit and tie in Act II, the rich-voiced baritone Gustavo Feulien seemed particularly sadistic as Scarpia, Tosca´s revulsion at his advances vividly acute in such close quarters.

Opera Review: Torching the Warehouse. read...

Review of Tosca
"Gustavo Feulien looked good and sounded better as Scarpia. The Argentinean import sang the role in its usual baritone register, and had power to dominate the Te Deum scene. This was expertly paced by conductor Dean Buck, who somehow solved the balance and resonance problems in this warehouse space. largely by placing the singers in one corner of the space, the orchestra opposite and the audience (seated in a V) between. In the second act, Scarpia's loneliness at his "poor supper" in the Palazzo Farnese was emphasized, with only his flunkies and the offstage gavotte and Tosca's cantata (done as a radio broadcast) for company.

Any empathy ended when Cavaradossi was brought in and the torture started. (In another contemporary update, the silent role of the inquisitor Roberti was played by a willowy blonde.) Mr. Feulien gleefully chewed the scenery, his baritone rising to a dark roar. Scarpia's lust for Tosca manifesting itself as he assaulted her not once, twice, but thrice attempting sexual congress on the dinner table.