The San Francisco Chronicle exclaims, “For theatrical charisma and musical bravado, it would be hard to top the performance of baritone Efraín Solís.” He is a recent graduate of the San Francisco Opera Adler Fellowship and while with the company, sang his first performances of Papageno in Die Zauberflöte, Dandini in La cenerentola, Schaunard in La bohème, Silvano in Un ballo in mascheraSciarrone in Tosca, and Prince Yamadori in Madama Butterfly. In the 2017-18 season, he joins both Houston Grand Opera’s HGOCo and New York City Opera as Mark in Martinez’s Cruzar la cara de la Luna.  He also returns to West Edge Opera in his home state of California for Golaud in his first performances of Pelléas et Mélisande and joins Washington Concert Opera as Fiesque in Maria di Rohan. On the concert stage, he sings his first performances of Mahler’s Lieder eines fahrenden Gesellen with the Palo Alto Philharmonic, Handel’s Messiah with the Las Vegas Philharmonic, and concerts of opera favorites with both Opera Delaware and Baltimore Concert Opera. Last season, he debuted the role of Figaro in Le nozze di Figaro with Opera Memphis and reprised it in a return to Livermore Valley Opera. He also sang Dick in Blitzstein’s The Cradle Will Rock with Opera Saratoga, was presented in recital by El Camino College Center for the Arts, returned to the New Century Chamber Orchestra for a Gershwin gala, and joined the New Choral Society for Handel’s Messiah.


Baritone Efraín Solís was a stout vocal presence and a clear-cut everyman’s counterweight to the aristocratic Tamino.
— James Roy MacBean, Berkeley Daily Planet 11/13/15
Mexican-American baritone Efrain Solis makes his role debut as the randy bird-catcher Papageno, and his firm, resonant and appealing voice surpasses the memory of Nathan Gunn’s original interpretation in 2012. He makes the most of his lines and struts about the stage like a banty rooster. The broad humor and colloquialisms peppered throughout the translation work best in his earthy and endearing portrayal.
— Philip Campbell, Bay Area Reporter 10/29/15
Papageno was played by California lyric baritone Efraín Solís, who the previous San Francisco Opera season had replaced yet another artist at a late hour in Rossini’s “Cenerentola”. He brought to the role a secure vocalism, natural acting ability and a comic flair. He established an immediate rapport with the audience, suggesting that this role will become a career cornerstone.
— Opera Warhorses 10/21/15
For theatrical charisma and musical bravado, it would be hard to top the performance of baritone Efraín Solís, who made Slook a figure of comic fun and unexpected nobility.
— Joshua Kosman, SF Chronicle 2015
Among San Francisco’s great treasures are the Adlers. These young singers are usually the messengers and maids in the grand repertoire, and sometimes are over-parted in important roles. In this Cenerentola production they were utter perfection as Dandini and the ugly step sisters...But the biggest star of the evening (and it was a stiff competition) was California baritone Efrain Solis as the prince’s servant Dandini. This young singer exuded the charm, pent-up fun and exuberant singing that will make him a Rossini star.
— Michael Milenski, Opera Today 2014
Baritone Efrain Solis, a first-year San Francisco Opera Adler Fellow, is simply magical as “Dandini”, valet to Ramiro. Since the opera’s controlling gimmick is that the two characters must trade places in order to test-out the virtue and worthiness of Angelina, Solis and Barbera are completely compatible / totally opposite bookends. Their physical parallels and harmonious vocals are a rare theatrical treat.
— Sean Martinfield, SF Examiner 2014
Two great Italian basso buffos – Renato Capecchi and Sesto Bruscantini – sang the part of Dandini in San Francisco in the first decade of this production’s existence. For this production, only 12 days before the opening performance, the San Francisco Opera announced that Adler Fellow Efrain Solis would step into the principal comic role of Dandini...It is remarkable just how good Solis’ Dandini proved to be...I found myself just as impressed by Solis’ comic timing, witty delivery of Rossini’s patter and strong technical skills.
— Opera Warhorses, 2014
Special mention goes to Efraín Solís’ Silvano, the fisherman secretly helped along by the king, and who almost steals the show in the process.
— Rodney Punt, SF Classical Voice 2014
The mime-face mask chosen for Papageno does not deter the Mexican-American baritone Efraín Solís from delivering an unabashedly fresh account of his appealing character. Solís, a second-year Adler fellow, possesses fine comedic timing in his spoken bits and then alternates charming seduction in his duets with serious despair in his suicide aria, which of course is thwarted when he plays his bells and wins over Papagena. Such bravado, vocally and in terms of acting talent, is not often seen on the War Memorial stage. But Solís reminds audiences that the sheer power of his voice can transcend even the wayward trappings of a misconceived design. He has certainly grasped the essence of Mozart’s intentions. May he prevail.
— John Sullivan, CultureVulture 11/11/15
Solís brought a dazzling sense of purpose to a martial aria from Handel’s Rodelinda, with every ornament urgent and essential, then returned after intermission for a daringly tremulous reading of his Donizetti assignment.
— Steven Winn, SF Classical Voice 2014
Efraín Solís ran through a thunderous excerpt from Handel’s “Rodelinda,” shaping the music with passion and strength.
— Joshua Kosman, SF Chronicle 2014