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Biography

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 maschera, Sciarrone 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.

Reviews

At the fulcrum was baritone Efraín Solís’ incendiary performance as Golaud - brother to Pelléas, husband to Mélisande and somehow both the protagonist and a sidelight in someone else’s tale. In singing of muscular vividness, Solís brought the audience into the reality of his plight without ever making excuses for Golaud’s abusive behavior.
— Joshua Kosman, San Francisco Chronicle Aug. 13, 2018
..the opera begins simply with the character Mark (Efraín Solís in a strong HGO debut) spotlighted alone onstage accompanying himself on the acoustic guitar...Musical highlights of the evening included a duet between Laurentino and Mark (Moreno and Solís), sung with an ardor worthy of Puccini.
— Eric Skelly, Houston Chronicle May 18, 2018
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
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