Der Fliegende Holländer, R. Wagner

Theatro Municipal de São Paulo

"Basso cantante, he is a traditional family man, who deserves an elegant, sober singing, like what the Brazilian Luiz-Ottavio Faria offered on both days."

Fabiana Crepaldi, November 24, 2023 notasmusicais.com

Der Fliegende Holländer, R. Wagner

Theatro Municipal de São Paulo

"The bass Luiz-Ottavio Faria interpreted a Daland who was vocally very consistent and with an excellent scenic performance. The artist demonstrated the character's ambition in a deliberately poorly disguised manner. His duet with the Dutchman (Durch Sturm und bösen Wind) and his second act monologue (Mögst du, mein Kind) received excellent performances."

Leonardo Marques, November 19, 2023 notasmusicais.com

Der Fliegende Holländer, R. Wagner

Theatro Municipal de São Paulo

"The bass Luiz-Ottavio Faria, who interpreted Daland, is a superlative voice, with surprising resources."

João Luiz Sampaio, November 23, 2023 concerto.com.br

Die Entführung aus dem Serail, W. Mozart

Theatro São Pedro

"At São Pedro we had a bass capable of emitting and sustaining the D: Luiz-Ottavio Faria. In addition to the D, Faria had an excellent performance, both scenically and vocally."

Fabiana Crepaldi, May 5, 2023 notasmusicais.com

Die Entführung aus dem Serail, W. Mozart

Theatro São Pedro

"And Luiz-Ottavio Faria composed that Osmin we love to hate, with good low notes, agility in the suffocating aria 'Ha, Wie Will Ich Triumphieren,' and volcanic buffoonery."

Marvio dos Anjos, May 28, 2023, O Globo

Die Entführung aus dem Serail, W. Mozart

Theatro São Pedro

"The excellent bass from Rio, Luiz-Ottavio Faria, with an important international career, interpreted the role of the stern and ill-tempered Osmin, displaying great charisma, and won over the São Pedro audience from his opening song, Wer ein Liebchen hat gefunden, which evolves into a duet with Belmonte. He stole scenes throughout the performance, stood out with Jean William in the wine duet, Vivat Bacchus! Bacchus lebe!, and descended to the delicious depths of his voice in his final aria, the triumphant O, wie will ich triumphieren, in which he revels in the misfortune of the lovers. How good it is to hear a true bass!"

Leonardo Marques, April 17, 2023 notasmusicais.com

Die Entführung aus dem Serail, W. Mozart

Theatro São Pedro

"Luiz-Ottavio Faria lent his magnificent low notes to the truculent Osmin."

Jorge Coli, April 20, 2023 concerto.com.br

Rigoletto, G. Puccini

Theatro Municipal de São Paulo

"Luiz-Ottavio Faria is a young singer with a great international career ahead of him, and his Sparafucile was sinister, frightening."

Jorge Coli, July 29, 2019 concerto.com.br

Rigoletto, G. Puccini

Theatro Municipal de São Paulo

"the impressive bass Luiz-Ottavio Faria, with precise stage presence, attention to the text – and truly memorable low notes."

João Luiz Sampaio, July 25, 2019 concerto.com.br

Zaccaria - Nabucco

Festival La Coruna

"Luiz-Ottavio Faria, a Zaccaria certainly imposing. If a few years ago he had powerfully caught my attention interpreting the role of Timur in Turandot, this Zaccaria consolidates him as a true rough diamond. It is a powerful instrument, with impeccable emission, tremendously homogeneous throughout the entire wide range, with the color of a true basso cantante and without fear of showing off at both extremes of the tessitura in the variations. Already from his complicated initial scene he demonstrated that he is a singer of breed, but his best moment was the cantabile 'Vieni, oh Levita!... Tu sul labbro' said with a nobility difficult to match today."

Hugo Alvarez Dominguez, 2015 Mundo Clasico.com

Attila, G. Verdi

"Luiz-Ottavio Faria; Fantastic as Attila!!!, Attila is the only absolute bass protagonist in a Verdi opera. The Brazilian possesses an impressive register of well-supported low notes, a wide, large, soft, mellow voice and a great ascent to the high notes. Furthermore, Faria phrases wonderfully, endowing his expressions with true Verdian meaning and musicality. A success and a guarantee for Verdian bass roles."

Mr. Daniel Diz, January 21, 2015 Opera World

Ramfis - Aida

Teatro Municipal de São Paulo

"In the role of the high priest Ramfis, the great presence of Luiz-Ottavio Faria with a powerful, poised voice, confronting with very good means and beautiful low and high notes, with decision and maturity. Furthermore, he sang with a pleasing, homogeneous timbre, warmth and virtually impeccable emission. In the exotic and evocative scene of the priests (judgment of Radames) he intervened with the impressiveness and majesty that the role requires. The beautiful international career of this artist is to be confirmed."

Marco Antonio Seta, Movimento.com

Timur - Turandot, G. Puccini

MundoClasico.com, Spain

"One might think that Timur is a merely secondary character, until one is lucky enough to find a singer like Luiz-Ottavio Faria in the role, who with his sonorous and resounding voice, gives each phrase of the part its own identity, centering attention on him every time he opens his mouth, and excelling in his impressive farewell to Liú."

Hugo Alvarez Domínguez, October 18, 2009

Timur - Turandot, G. Puccini

La Opinion Coruna, Spain

"Luiz-Ottavio Faria made a superb Timur vocally and scenically; he is a bass endowed with a voice of great quality who also emits very well."

Julio Andrade Malde, September 20, 2009 La Opinion Coruna

Ramfis - Aida

Seattle Opera, McCaw Hall.

"Bass Luiz-Ottavio Faria and his sonorous voice made the priest Ramfis a power to be reckoned with."

Maggie Larrick, August 6, 2008 Queen Anne News, Seattle, WA

Timur - Turandot, G. Puccini

Pro Opera - Mexico

"As King Timur, the Brazilian Luiz-Ottavio Faria presented himself, with a most beautiful deep bass voice that resonated throughout the theater: Another voice worth noting, in addition to his graceful presence."

Ximera Sepulveda, January 30, 2008 Pro Opera - Mexico

Timur - Turandot, G. Puccini

Palm Beach Daily News

"Luiz-Ottavio Faria was captivating as the elder Timur with a rich, warm bass of considerable size. He made a compelling father figure."

R. Spencer Butler, December 9, 2007 Palm Beach Daily News

Timur - Turandot, G. Puccini

South Florida Sun-Sentinental

"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."

David Fleshler, December 11, 2007 South Florida Sun-Sentinental

Giovanni da Procida - Les Vêpres Siciliennes

Teatro Carlo Felice Genoa.

"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."

José M. Irurzun, October 25, 2007 MusicWeb International's Worldwide Concert and Opera Reviews

Giovanni da Procida - Les Vêpres Siciliennes

Teatro Carlo Felice Genoa.

"To these two great ones, Franco Vassallo (Gildo Monforte) and Luiz-Ottavio Faria (Giovanni da Procida) joined, absolutely up to the role and always in character. Both excellent."

Antonio P. Condo', October 25, 2007 Azzurro on Line, Calabria

Ramfis - Aida

"Luiz-Ottavio Faria's poise and magnificent voice made Ramfis seem like a more important character than he really is."

Paul Horsley, September 17, 2007 The Kansas City Star

Friar Laurent - Roméo et Juliette, C. Gounod

"Luiz-Ottavio Faria, blessed with a massive bass voice, blessed the audience as Friar Laurent."

Jeffrey Kaczmarczyk, February 10, 2007 The grand Rapids Press

Zaccaria - Nabucco, G. Verdi

"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."

Tim Smith, November 13, 2006 Baltimore Sun

Alvise Badoero - La Gioconda, A. Ponchielli

Movimento.com, Brasil

"The bass Luiz-Ottavio Faria, as usual, lent his elegance to the head of the Inquisition in Venice, Alvise Badoero. In the third act, he offered us an excellent interpretation of the scene and aria Sì, morir ella de"!. A most beautiful timbre and excellent projection are two of his greatest qualities. His duet with Laura, Bella così, Madonna, one of the most terrible scenes in the opera, in which Alvise orders the death of his own wife, was memorable."

Leonardo Marques, August 27, 2006

Alvise Badoero - La Gioconda, A. Ponchielli

"Also the bass Luiz Ottavio Faria, with great skill, played Laura's husband, Alvise, making the best possible use of "Si, morir ella dè", an aria which, musically, is very weak."

Lauro Machado Coelho, August 23, 2006 Estado de Sao Paulo

Sarastro - The Magic Flute, W.A. Mozart

"Mr. Faria displayed the requisite dignity and subterranean low notes for Sarastro."

Lawrence A. Johnson, February 26, 2006 Classical music writer

Sarastro - The Magic Flute, W.A. Mozart

"The evening’s best was Sarastro, sung by Luiz-Ottavio Faria. For “In these sacred walls,” he combined vocal beauty, nobility and rare passion."

Sharon McDaniel, February 26, 2006 Palm Beach Post

Sarastro - The Magic Flute, W.A. Mozart

"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."

Robert W. Butts, May 22, 2005 Classical New Jersey Society Journal

Banquo - Macbeth, G. Verdi

Movimento.com, Brasil

"In the role of Banquo, we had the beautiful voice of the deep bass Luiz-Ottavio Faria. His second act aria - Como dal ciel precipita - well expressed the sadness of his character in the face of terrible destiny."

Fernanda Maria da Fonseca e Cruz, March 5, 2005

Banquo - Macbeth, G. Verdi

Movimento.com, Brasil

"A gift for the carioca public is the special participation of the bass, Luiz-Ottavio Faria. Despite singing little throughout the opera, his interpretation of Banquo (or Banco, in Italian) shows us why he is one of our best lyrical singers. A most beautiful voice, precise technique, great projection and excellent stage presence were his weapons to present us, at the premiere, with his two main moments in the opera: the duet with the baritone at the very beginning of the performance, and his second act aria Come dal ciel precipita."

Leonardo Marques, May 5, 2005

Banquo - Macbeth, G. Verdi

"Luiz-Ottavio Faria, unsurpassed Banquo, is another jewel in our crown of low voices."

Maria Teresa dal Moro, May 3, 2005 Tribuna da Imprensa, Brasil

The Captain - Wozzeck, A. Berg

Opera News Magazine

"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."

John F. Hulcoop, May 1, 2005 Opera News Magazine

The Captain - Wozzeck, A. Berg

Queen Anne News

"Luiz-Ottavio Faria, with his warm, tobacco-tinged bass, was perfect as the wise Captain."

Maggie Larrick, March 2, 2005 Queen Anne News

Nourabad - Les Pêcheurs de Perles, G. Bizet

Opera News Magazine

"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."

Luther Wade, January 1, 2006 Opera News Magazine

Nourabad - Les Pêcheurs de Perles, G. Bizet

"Finally, it is worth noting the excellence of Luiz-Ottavio Faria’s voice, impeccable in the short role of Nourabad."

Lauro Machado Coelho, September 8, 2005 Estadao de Sao Paulo

Nourabad - Les Pêcheurs de Perles, G. Bizet

"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."

John W. Freeman, January 3, 2003 Opera News

Nourabad - Les Pêcheurs de Perles, G. Bizet

"As Nourabad, the strict High Priest, Luiz-Ottavio Faria sang with authority."

Robert Levine, November 2, 2002 Classics today

Zaccaria - Nabucco, G. Verdi

"Luiz-Ottavio Faria was a fully satisfying Zaccaria, with an easy top and a sonorous low F."

Luther Wade, October 25, 2003 Opera News Magazine

Zaccaria - Nabucco, G. Verdi

Classical Voice North Carolina

"With visceral low notes, bass Luiz Ottavio Faria was outstanding as Zaccaria, High priest of the Hebrews."

William Thomas Walker, November 1, 2003 Classical Voice North Carolina

Timur - Turandot, G. Puccini

L‘Opera Magazine, Italia

"Excellent the bass Luiz-Ottavio Faria in the role of Timur; his warm voice was well accompanied by the scenic interpretation that the singer gave of the suffering and tormented father of Calaf."

Sabino Lenoci, July 13, 2002

Banquo - Macbeth, G. Verdi

"As Banquo, the Brazilian bass Luiz-Ottavio Faria, was responsible for one of the greatest qualities of the show: the adequacy in the choice of the cast for the opera. His beautiful voice fully translates the Verdian tessitura. The quality of his interpretation is already evident in the scene with Macduff, starting with “Oh quale orrenda notte”…- the poetic inflection of this great artist remains a trademark of his good taste and appropriation in the composition of a perfect character. His aria in the second act, “Come dal ciel precipita” was another great moment of the night. A voice of rare beauty, sobriety in interpretation and striking musicality are just some of the characteristics of this great artist who is pursuing an international career."

Fabio de Mello, July 23, 2002 Movimento.com

Marcel - Les Huguenots, G. Meyerbeer

"Others taking part included Luiz-Ottavio Faria, appealing and human in the bass role of Marcel."

Paul Griffths, April 28, 2001 The New York Times

Marcel - Les Huguenots, G. Meyerbeer

"Bass Luiz-Ottavio Faria displayed a strong, commanding sound as Marcel."

Brian Kellow, August 1, 2001 Opera News Magazine

Marcel - Les Huguenots, G. Meyerbeer

"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."

Martin Bernheimer, April 26, 2001 Financial Times

Marcel - Les Huguenots, G. Meyerbeer

"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.”"

Howard Levin, April 25, 2001 Opera Jamboree

Banquo - Macbeth, G. Verdi

"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."

Theodora Russo, March 1, 2001 Norrall Newspapers

Banquo - Macbeth, G. Verdi

"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."

Frederick Kaimann, February 20, 2001 Asbury Park Press

King of Egypt - Aida, G. Verdi

"Luiz-Ottavio Faria, as the King of Egypt, were superb, with glorious sounding voices."

Theodora Russo, March 23, 2000 Essex Jornal

Astolfo - Orlando Furioso, A. Vivaldi

"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."

Freeman Gunter, April 1, 2000 Classical Singer

Goitaca’ - Il Guarany, A. Gomes

"In the cast, Luiz-Ottavio Faria, interpreting Goitaca’, also deserved highlight, a powerful voice, almost demonic, for an actor with good stage presence."

Marcello Catilho Avellar, August 13, 1999 Estado de Minas Geraia

Mefistofele, A. Boito

"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."

Steve Metcalf, November 8, 1998 The Hartford Courant

General Reviews

"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."

Sonia Lewis, February 11, 1998 Classical New Jersey

Ferrando - Il Trovatore, G. Verdi

"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."

Nino Pantano, June 19, 1997 Boro Park Community News

Ferrando - Il Trovatore, G. Verdi

"Capt. Ferrando, waiting to apprehend the troubadour, spends his 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."

Samra Shiepe, September 12, 1997 Home Reporter

Silva - Ernani, G. Verdi

"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."

Peter Wynne, April 4, 1997 The Record

Sarastro - The Magic Flute, W.A. Mozart

"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."

Vince Brown, November 19, 1996 Port Folio Magazine

Sparafucile - Rigoletto, G. Verdi

"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."

Thomas Lenihan, January 30, 1996 Boro Park Community News

Alidoro - La Cenerentola, G. Rossini

"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."

Allan Kozinn, June 24, 1996 The New York Times