“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.”

“..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.”

“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...He has certainly grasped the essence of Mozart’s intentions. May he prevail.”

“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.”

“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.”

“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.”

“The piece turns on Laurentino himself, in all his life stages, and baritone Efraín Solís created yet another in the series of impeccably etched performances that have marked his career in the Bay Area. His Laurentino was by turns cocky and remorseful, and conveyed throughout by singing of lustrous presence.”

“At the center of the production are two glorious performances by Efraín Solís in the title role and Maya Kherani as Susanna...both possess gorgeously expressive voices and warm and uncommonly winning stage presences. They sang beautifully throughout, bringing nuance and a lively musicality to Mozart’s melodies while clearly articulating the text and playing the underlying emotions.

Solís was particularly effective in his plaintive, tragicomic Act IV recitative and aria, “Tutto è disposto / Aprite un po’ quegli occhi” and followed that up with some deft, silent comic antics. [Kherani] and Solís have a level of connection and chemistry that is rare in the world of opera and gives their scenes a wonderful sense of spontaneity. They are the very antithesis of the old-school “park and bark” style of opera performers.”

“ The libretto doesn’t give Aeneas nearly as much stage time, or music, as Dido. A listener could only regret this, given Efraín Solís’s beautiful voice, handsome presence, and considerable dramatic force.”

“Efraín Solís is a sympathetic Charlie. His large, evenly produced baritone can manage fierce declamation and warm-toned lyrical arioso without strain. He made the listener feel both the character’s desperation and frustration and sadness at his mother’s lack of empathy.”

“Efraín Solís’s honey-hued baritone gives Gil a softness and charisma that allows the audience to understand why Susanna would stay married to a man who doesn’t want her to leave the house and from whom she has to hide something that brings her joy. In their solo moments, Becerra and Solís command the screen, and together, they have a wonderful, effortless chemistry that would be impossible to fake.””

“With his warm, flexible baritone and good looks, Solís’ Charlie is especially compelling. Grief-stricken when his long term partner dies of AIDS, he is the picture of youthful bewildered sorrow. In one shot, an overhead camera looks down on his curled-up body. He is small and helpless, the very essence of humanity under siege. The shot tells us something valuable about a world in the time of AIDS, Covid-19, or whatever woe the future might bring. It’s an image I can’t get out of my head.”

“With his grounded, colorful baritone and natural boyishness, Efraín Solís makes Charlie the kind of little brother you want to coddle, but who is plenty strong on his own. Solís is especially moving mourning Burt’s death, twisting his commitment ring indecisively while packing away his partner’s clothes. He and Kherani shine in their scenes together with a natural rapport that makes their relationship feel real.”

“In particular, was the portrayal of French Lieutenant Audebert by baritone Efraín Solís. While somberly naming a list of the dead and wounded, his thoughts continually return to his wife and unborn child. Solís’s portrayal was easy to watch, refreshingly real while still being readable for audience members in the back of the hall. His voice came easy and he navigated the upper ranges of his baritone voice with tenor-like grace.”

“Baritone Efraín Solís movingly reveals the poetic soul of French Lt. Audebert.”

“Another strong performance comes from baritone Efrain Solis, who displays his effortless, beautiful voice as politician DiCosimo”

“Baritone Efrain Solis as Mercutio, Romeo’s second, lends plenty of drama and talent to the production—notably Solis’ rendition of the “Mab” aria.”