Milwaukee Journal review (Rigoletto 2010)

Elaine Schmidt

"Luis Ledesma sang the title role Friday, using a twisted stance, labored gait and a heavy-hearted, careworn air to inhabit the character as he sang the part with warmth, conviction and fatherly affection. He brought a dark, big sound to the role." - Milwaukee Journal Sentinel

ThirdCoast Digest (Rigoletto 2010)

By Tom Strini

Ledesma’s best acting was in his singing. The bitter tone and jabbing accents in his singing at court revealed his contempt. That made the tenderness in his voice in his scenes with Gilda, his beloved daughter, all the more affecting.

For The Tennessean

Evans Donnell

Baritone Luis Ledesma is Baron Scarpia, one of opera’s most thoroughly reprehensible villans. He isn't a one-dimensional baddie, though, in Ledesma’s hands and nuanced voice; from his entrance into the church in Act I forward he’s a ruthless man who knows exactly who he is and what he wants, despicable though his character and desires may be.

Opera News

REBECCA J. FELDHAUS

This year's Tosca saw many company debuts — all of the principals, save Luis Ledesma, who commanded the stage with a rich but well-controlled baritone as a Scarpia convincingly devious, yet not hammy. When Ledesma looked at his Tosca, Erika Sunnegårdh, he was Scarpia, conquering the diva with his eyes. Their Act II scene together was magnificent. The struggle was well timed and believable.

the Green Valley News 04-07-09

Dr. Donald J. Behnke

Luis Ledesma, the Scarpia at all performances, was perfectly vile and made the terror you always feel from the pain of your tortured lover as well as the triumph you experience, though briefly, managing Scarpia’s deserved demise

Press-register 10 -25-08

THOMAS B. HARRISON

Lucia's brother Enrico, marvelously performed by baritone Luis Ledesma, has nefarious plans to exploit his sister — and he does, with predictably tragic results. Ledesma's vocal power, evident in last season's "Andréa Chénier," has not diminished. Ledesma is a formidable presence, and his scenes with the faithful Raimondo (Mark McCrory), Lucia's spiritual adviser, often suggest a force of nature unleashed.

The McGill TRIBUNE

Emma Quail

Jack Rance, the sheriff, is played by Luis Ledesma, who acts and sings the part expertly throughout the performance.

The Gazette 09-20-08

ARTHUR KAPTAINIS

Luis Ludesma had a deeper role to play in the sheriff Jack Rance. This Mexican baritone combined a dark voice with stormy looks, both perfectly suited to the part.

The Capital Times 07-27-08

Lindsay Christians

The highlights of the evening performance, a program containing the opera version of summer fireworks, were many. We were first seduced by baritone Luis Ledesma's charismatic rendering of "Largo al factotum," the famous patter aria from "The Barber of Seville." Ledesma, in addition to his full, lush baritone, is quite the actor. He sparkled as the over-booked, much-adored Figaro before adopting another aspect altogether with tenor Bryan Hymel in the Pinkerton-Sharpless duet from "Madama Butterfly."

Concertonet.com 07-02-08

Robert Baxter

In the duets for Rodolfo and Marcello, Fabiano was joined by baritone Luis Ledesma. Blending his voice masterfully with the tenor’s,Ledesma sang expertly. His attractive, dark baritone rang out impressively. Dressed in black suits and open-throated dark shirts, the two singers acted confidently as they moved across the stage in front of the orchestra.

San Antonio Current 06-29-08

Nicolette Good

Scarpia, played by Luis Ledesma, is a formidable villain, throwing all the requisite punches — a robust voice, a wormy demeanor, and the audacity to sing apostasies like, “Tosca, you make me forget God.” Ledesma is a smart Scarpia and resists playing up his repugnance. Instead he gives us an eerie, insidious criminal capable of carrying out a travesty only Puccini could dream up.

express-news.net 06-28-08

Jennifer Roolf Laster

Baritone Luis Ledesma, a regular with this company, gave Scarpia just the right leering, arrogant edge. He was villainous without being melodramatic (except for an over-the-top death scene), and his voice was robust and perfectly focused, especially on "Va, Tosca!"

Monday, April 21, 2008,

Jeanne Claire van Ryzin

And as Escamallio, Luis Ledesma had a good tone and plenty of dramatic flourish. Alas it was some of the only dramatic action we saw.

Press- Register 03-13-08

THOMAS B. HARRISON

As a performance piece, the opera truly belongs to Ledesma, a thinking man's firebrand who realizes too late that he has merely swapped one kind of servitude for another. During a "Teen Night" preview Tuesday, Ledesma struck a chord early on when Gérard, contemptuous of the "prissy dandies in their silk and lace," angrily cast off his servant's livery during a soirée at the Chateau de Coigny and stormed out with the radicals who would make him their leader. Late in the opera, his sturdy baritone reveals a change of heart when he realizes the revolution is a fraud: "I thought myself a giant,(but) I am still a servant. I only changed masters."

MiamiHerald 12-13-07

LAWRENCE A. JOHNSON

Bocelli always has a superb supporting cast in tow, and his guests provided the finest singing of the night. Luis Ledesma joined Bocelli in a warmly wistful account of the Act 4 duet from La Boheme and showcased his dark-hued baritone in a forceful, aptly malevolent account of Scarpia's Te Deum.

The New York Times. 12-12- 07

Vivian Schweizer

(Bocelli Tour) Also on the lineup was the able baritone Luis Ledesma, who sang “Te Deum” from Puccini’s “Tosca” with aplomb.

State Journal 11-07-07

John Aehl

La Boheme Madison Opera “Luis Ledesma as Marcello sang and acted with authority.”

The Kansas City Star Sep-16 -07

Paul Horsley

The most satisfying performance came from baritone Luis Ledesma in the role of Amonastro, Aida’s father. His mahogany-toned voice, excellent Italian and riveting stage presence anchored every scene he was in, often with small gestures that gave insight into a father’s torment.”

Classical Music Broadcast.com

(Dawn Southwick Mar-08-2007

“Luis Ledesma was a fine Escamillo. His dark good looks added to his convincing performance. We have not seen him since La Boheme in 1998. He seemed to be a bit out of sync with the orchestra during the beginning of his opening aria, but this was quickly set to rights. With a fine baritone voice and a riveting presence, his matador seemed like a rock star, followed by his fawning groupies.”

Press Telegram Mar-07

John Farrell

Carmen Opera Pacific (Mar 07) “His competition in love, the toreador Escamillo, is played with panache by Luis Ledesma, who sinks his teeth into Escamillo's great bragging songs, but also shows a real passion for Carmen, who drops Jose for the toreador” (John Farrell)

Opera news January-25-2007

Steven Brown

Luis Ledesma the conniving Tonio. His voice opened up with a fullness, cut a menacing figure as the stooped but fierce Tonio.

La Jornada (Mexico City)

(Monica Mateos-Vega July-6-2006

La boheme Bellas Artes Mexico City (July 06) “También destacó en su papel del pintor Marcello, el baritono Luis Ledesma, quien creó todo un personaje bohemio, divertido, apasionado, picaro, sin descuidar un ápice la calidad del canto.”

Bocelli Tour

San Francisco Chronicle (Steven Winn) June 2006

“When Bocelli was joined by baritone Luis Ledesma in the glorious “Au fond du temple saint” from Bizet's “The Pearl Fishers”, a welcome brief bout of competitive power singing broke out. That amped up the proceedings. Ledesma, in both his solo and ensemble pieces, supplied a certain heedless, headlong enrgy all evening. His preening “Toreador's Song” from Bizet's “Carmen”, sung with the University Singers of CSU Fullerton choir, had a rousing, reckless swagger. Whocared if his diction went missing for a while? The man was in character, conjuring up a dramatic moment.”

Bocelli Tour

The Providence Journal (Channing Gray) June 2006

“…he shared the stage with a couple of up-and-coming opera stars, Mexican baritone Luis Ledesma, who was sensational in “Votre Toast” from Carmen, and Ana Maria Martinez, a wonderfully expressive lyric soprano out of Juilliard.”

Tri-State defender (Jim Eikner) November -12- 2005

Luis Ledesma, as High Priest of the Philistines, was impressive once more on the Orpheum stage with a commanding presence and remarkable baritone- bass voice, causing Opera Memphis followers to recall with immence pleasure Ledesma's strong performance as Scarpia in last season's Tosca

Carmina Burana

Louisville Kentucky 2/05

Luis Ledesma Sang with particularly Robust and nuancend colors, especially toward the end of Orff's boisterous tavern scene.

Tosca

Memphis October 2004

"Baritone Luis Ledesma played Scarpia as a crafty but surprisingly even-tempered villain, singing his signature arias with a calm arrogance."

Aida The Berkshire Eagle July 19, 2004

Richard Houdek

Luis Ledesma acquitted himself handsomely as Amonasro, his noble baritone is an attractive instrument.

Aida

Pittsfield 7/04

"Luis Ledesma brought a generally smooth, resonant baritone to the role of Amonasro (Aida)...The Act III duet was genuinely touching."

Faust

Pittsfield 7/04

"Luis Ledesma's Valentin (Faust) was solidly sung with a robust delivery."

Carmen

Opera Pacific 6/04

"Baritone Luis Ledesma displayed yards and yards of deep, dark tone and smooth long-breathed phrases in Verdi's "Eri tu" and the "Toreador's Song" from Carmen."