Uno puede pensar que Timur es un personaje meramente secundario, hasta que tiene la suerte de encontrarse en la parte a un cantante como Luiz-
Ottavio Faria, que con su voz sonora y rotunda, confiere identidad propia a cada frase de la parte, centrando la atención en él cada vez que abre la boca, y
descollando en su impresionante despedida a Liú. MundoClasico.com, Spain (Hugo Alvarez Domínguez) 18 de Octubre 2009
Luiz-Ottavio Faria hizo un Timur soberbio en lo vocal y en lo escénico; es un bajo dotado de una voz de gran calidad que además emite muy bien.
La Opinion Coruna, Spain (Julio Andrade Malde) 20 de Septiembre 2009
Bass Luiz-Ottavio Faria and his sonorous voice made the priest Ramfis a power to be reckoned with.
(Aida at the Seattle Opera, MCcaw Hall.) Queen Anne News, Seattle, WA (Maggie Larrick) August 06th, 2008
Como el rey Timur se presento el brasileño Luiz-Ottavio Faria, con una hermosísima voz de bajo profundo que resonaba por todo el teatro: Otra voz digna
de tener en cuenta, además de su agraciada presencia. Pro Opera - Mexico, (Ximera Sepulveda) January 30th, 2008
Luiz-Ottavio Faria was captivating as the elder Timur with a rich, warm bass of considerable size. He made a compelling father figure.
Palm Beach Daily News, (R. Spencer Butler) December 09th, 2007
As Calàf's father Timur, Luíz Ottavio Faría offered the best performance on a strictly vocal basis, deploying a rich bass voice that never lost clarity.
South Florida Sun-Sentinental, (David Fleshler) December 11th, 2007
Brazilian bass Luiz-Ottavio Faria, as Giovanni da Procida, turned out to be the great surprise of the evening. The voice is wide, well projected and offers
easily enough quality: It's powerful at the bottom of the tessitura and has no problems higher up. He is a good interpreter, who was soundly cheered
after his rendering of “O tu, Palermo”. A very pleasant surprise, indeed.
MusicWeb International's Worldwide Concert and Opera Reviews, (José M. Irurzun) Teatro Carlo Felice Genoa. October 25th, 2007
A questi due grandi, si sono affiancati Franco Vassallo (Gildo Monforte) e Luiz-Ottavio Faria (Giovanni da Procida) assolutamente all'altezza del ruolo e
sempre nel personaggio. Eccellenti entrambi. Azzurro on Line, Calabria, (Antonio P. Condo') Genova, October 25th, 2007
Luiz-Ottavio Faria's poise and magnificent voice made Ramfis seem like a more important character than he really is.
The Kansas City Star, (Paul Horsley) September 17th, 2007
Luiz-Ottavio Faria, blessed with a massive bass voice, blessed the audience as Friar Laurent.
The grand Rapids Press, (Jeffrey kaczmarczyk) February 10th, 2007
Luiz-Ottavio Faria made a compelling company debut as Zaccaria, the Hebrew high priest. There was terrific warmth, depth and stylistic sensitivity in his
singing. Baltimore Sun, (Tim Smith) November 13th , 2006
O baixo Luiz-Ottavio Faria, como de hábito, emprestou sua elegância ao chefe da Inquisição em Veneza, Alvise Badoero. No terceiro ato, ofereceu-nos
uma ótima interpretação da cena e ária Sì, morir ella de"!. Belíssimo timbre e excelente projeção são duas de suas maiores qualidades. Seu dueto com
Laura, Bella così, Madonna, uma das cenas mais terríveis da ópera, em que Alvise ordena a morte da própria esposa, foi memorável.
Movimento.com, Brasil (Leonardo Marques) August 27th, 2006
Também o baixo Luiz Ottavio Faria fez, com muita propriedade, o marido de Laura, Alvise, tirando o melhor partido possível de "Si, morir ella dè", ária que,
musicalmente, é muito fraca. Estado de Sao Paulo, Brasil (Lauro Machado Coelho) August 23rd, 2006
Mr. Faria displayed the requisite dignity and subterranean low notes for Sarastro.
Classical music writer, (Lawrence A. Johnson) February 26th, 2006
The evening’s best was Sarastro, sung by Luiz-Ottavio Faria. For “In these sacred walls,” he combined vocal beauty, nobility and rare passion.
Palm Beach Post, (Sharon McDaniel) February 26th, 2006
The high Priest, Nourabad, doesn’t have much to sing but must project authority and power, and those qualities were amply present in the portrayal of
Luiz-Ottavio Faria. Opera News Magazine, (Luther Wade) January 1st, 2006
Luiz Ottavio Faria’s generous bass was perfectly suited to role of the Captain, a human anchor of the ship on which all the others characters are drift in
one way or another. Opera News Magazine, (John F. Hulcoop) May 1st, 2005
Luiz-Ottavio Faria, with his warm, tobacco-tinged bass, was perfect as the wise Captain.
Queen Anne News, (Maggie Larrick) March 2nd, 2005
Luiz-Ottavio Faria was a solid Sarastro. His lowest notes were as rich and secure as his higher tones, bringing a complete musical presence to his
performance and making both of Sarastro’s hymn-like arias memorable. Classical New Jersey Society Journal, (Robert W. Butts) May 22nd, 2005
No papel de Banquo, tivemos a bela voz do baixo profundo Luiz-Ottavio faria. Sua aria do segundo ato - Como dal ciel precipita - expressou bem a tristeza
do seu personagem diante do terrivel destino. Movimento.com, Brasil (Fernanda Maria da Fonseca e Cruz) March 05, 2005
Um presente para o publico carioca e’ a participacao especial do baixo, Luiz-Ottavio Faria. Apesar de cantar pouco ao longo da opera, sua interpretacao
de Banquo (ou Banco, em italiano) nos mostra porque ele e’ um dos nossos melhores cantores líricos. Voz belíssima, técnica precisa, grande projecao e
ótima presença cênica foram suas armas para nos brindar na estreia com seus dois principais momentos na opera: o dueto com o barítono logo no
inicio sa representacao, e sua aria do segundo ato Come dal ciel precipita. Movimento.com, Brasil (Leonardo Marques) May 5th, 2005
Luiz-Ottavio Faria, insuperavel Banquo, e’ outra joia da nossa coroa de vozes graves. Tribuna da Imprensa, Brasil (Maria Teresa dal Moro) May 3rd, 2005
Resta , finalmente , registrar a excelência da voz de Luiz-Ottavio Faria , impecavel no curto papel de Nou-rabad.
Estadao de Sao Paulo, Brasil (Lauro Machado Coelho) September 8th, 2005
Luiz-Ottavio Faria se lucio’ con una profunda voz de bajo cantante de primera categoria como Alvise.
Opera Actual, Spain (Eduardo Brandenburger) August 1st, 2004
Brazilian bass Luiz-Ottavio Faria, reined in his big voice to sing conversationally in Act II, saving his full fury for Nourabad’s denunciation of the other three
characters in the final scene. Opera News (John W. Freeman) January 3rd, 2003
Luiz-Ottavio Faria was a fully satisfying Zaccaria, with an easy top and a sonorous low F. Opera News Magazine, (Luther Wade) October 25th, 2003
With visceral low notes, bass Luiz Ottavio Faria was outstanding as Zaccaria, High priest of the Hebrews.
Classical Voice North Carolina (William Thomas Walker) November 1st, 2003
Ottimo il basso Luiz-Ottavio Faria nei panni di Timur; la sua calda voce si e ben accompagnata all’interpretazione scenica che il cantante ha dato de
sofferente e tormentato padre di Calaf. L‘Opera Magazine, Italia (Sabino Lenoci) July 13th, 2002
Como Banquo, o baixo brasileiro Luiz-Ottavio Faria, foi o responsavel por uma sas maiores qualidades do espetaculo: a adequacao na escolha do elenco
para a opera. Sua bonita voz traduz com plenitude a tessitura Verdiana. A qualidade de sua interpretacao fica evidente já na cena com Macduff, iniciando
com “ Oh quale orrenda notte”…- a poética inflexão deste grande artista fica como marca registrada do seu bom gosto e apropriacao na composicao de
um personagem perfeito. Sua aria no segundo ato, “Come dal ciel precipita” foi outro grande momento da noite. Voz de rara beleza, sobriedade na
interpretacao e marcante musicalidade são apenas algumas das características deste grande artista que trilha carreira internacional.
Movimento.com (Fabio de Mello) July 23rd, 2002
As Nourabad, the strict High Priest, Luiz-Ottavio Faria sang with authority. Classics today (Robert Levine) November 2nd, 2002
Others taking part included Luiz-Ottavio Faria, appealing and human in the bass role of Marcel. The New York Times, (Paul Griffths) April 28th, 2001
Bass Luiz-Ottavio Faria displayed a strong, commanding sound as Marcel. Opera News Magazine, (Brian Kellow) August 1st, 2001
Replacing Dimitri Kavrakos, who was to have sung the pious soldier Marcel, a booming Brazilian basso named Luiz-Ottavio Faria served notice of a major
talent, growling his plangent way to the subterranean depths. Financial Times (Martin Bernheimer) April 26th, 2001
Brazilian basso, Luiz-Ottavio Faria, who has appeared with Opera Orchestra of New York several times, also impressed with his interpretation of Raoul’s
servant, Marcel-especially with his masterfully performed “Piff paff pouf.” Opera Jamboree (Howard Levin) April 25th, 2001
Banquo was sung by bass Luiz-Ottavio Faria. His voice was wonderfully sonorous. I was genuinely saddened when he was killed, for we were deprived of
his marvelous sounding presence. Norrall Newspapers (Theodora Russo) March 1st, 2001
Although quickly dispatched, bass Luiz-Ottavio Faria as Banquo impresses with a sure sound and a tragic end. His constant, bloody hauntings are only
disappointing because he does not get to sing more. Asbury Park Press (Frederick Kaimann) February 20th, 2001
Luiz-Ottavio Faria, as the King of Egypt, were superb, with glorious sounding voices. Essex Jornal (Theodora Russo) March 23rd, 2000
Another Queler discovery, Luiz-Ottavio Faria, as Astolfo, had little to sing. It was enough, however, to reveal a plangent voice of uncommonly sensuous
beauty and to instill in this listener a fervent desire to hear him again soon in a major role. Classical Singer (Freeman Gunter) April 1st, 2000
No elenco, mereceu destaque, ainda, Luiz-Ottavio Faria, interpretando o Goitaca’, voz potente, quase demoniaca, para um ator de boa presenca cenica.
Estado de Minas Gerais, Brasil (Marcello Catilho Avellar) August 13th, 1999
The young Brazilian basso Luiz-Ottavio Faria, making his first ever appearance in Hartford, was a commanding and even rather charming title character in
the role of Mefistofele. He possesses a world-class instrument, capable of filling the vaulted Asylum Hill sanctuary with devilish ease.
The Hartford Courant (Steve Metcalf) November 8th, 1998
The last, but certainly not the least, of the bassos was Luiz-Ottavio Faria, who sang three roles. As a soldier, the Emir of Ramla, and the Herald, Mr. Faria
turned in three outstanding performances. He has forging a significant career in the United States, Brazil and Europe. His tones are delivered with
grandeur, eloquence and an evenly produced vocal technique. Classical New Jersey, (Sonia Lewis) February 11th,1998
From the very beginning of the show, one heard artists with voices and personalities that evoked memories of Il Trovatore as sung during the golden age
of opera. Beginning with the war vibrant basso of Luiz-Ottavio Faria who portrayed Ferrando, captain of the guard, one felt a high standard of performance
was going to be reached at this afternoon. Faria’s singing of “Allerta! Allerta! Abietta Zingara” was sung in an even tone, shimmering from pleasing top to
burnished bottom. Boro Park Community News (Nino Pantano) June 19th, 1997
Bass Luiz-Ottavio Faria displayed a rich, full low range that’s produced without a lot of artificial coloration. He’s young but he’s already taking on roles like
the implacable Silva in “Ernani” and Sarastro in “The Magic Flute” for which many older basses lack the requisite vocal depth.
The Record (Peter Wynne) April 4th, 1997
Capt. Ferrando, waiting to apprehend the troubadour, spends hit time telling of the tragic story of his youth. The narrative was beautifully performed by
bass Luiz-Ottavio Faria, whose commanding voice mesmerized the hushed audience. Home Reporter (Samra Shiepe) September 12th, 1997
Sarastro turns out to be a beneficent high priest. Luiz-Ottavio Faria’s dynamic bass voice has the lyrical balance required to effectively convey Mozart’s
mellifluous arias. Port Folio Magazine (Vince Brown) November 19th, 1996
Luiz-Ottavio Faria delivered a strong performance as Sparafucile, the assassin. His glistening high leather boots made him appear a villain par excellence.
He dominated the scene both vocally and physically. Boro Park Community News (Thomas Lenihan) January 30th, 1996
There were also solid contributions by Luiz-Ottavio Faria, whose powerful, rounded bottom notes added a touch of gravity to the sober role of Alidoro,
Ramiro’s tutor. The New York Times (Allan Kozinn) June 24th, 1996