"... This was undoubtedly the Barber of Manel Esteve as Figaro that the public knew how to reward by applauding from his initial aria "Largo al factotum" to the final greetings, with an standing ovation. This Catalan baritone gave us an anthology interpretation of a vocally complicated role and a constant, quasi-exhausting stage presence. A generous voice in dynamic nuances, in colors that adapted to Rossinian theatrical-vocal irony, ornamentation of style without losing freshness and a vocal projection that crossed the orchestra with ease and generosity with an admirable command of the fiato. But without a doubt, beyond a coloratura resolved without problems, two musical aspects that are often hidden in this role must be highlighted: the singing line and the filling with the rest of the soloists in the duets, and other groups, in which This character constantly participates and that Manel Esteve offered us with a know-how to say and do in the vein of the best singers in this role, like Bruscantini in the past. If the vocal part was full, the theatrical shows once again its quality as a total interpreter. Figaro is a role that can easily fall into histrionics and Esteve led it to a human comedy of who is known to be the center of a theatrical action, creating synergies with his partners, feeding and receiving the comic intuitions that the play already has without empty exaggerations. but humanizing a role that represents the mischief and solidarity..."
"... Today is the turn of a fabulous Figaro by Manel Esteve ... what Figaro has signed! Great in every way. Esteve has a baritonal timbre of a color very suitable for this role,and his first aria, the famous Largo al factotum della città, demonstrated (as the audience recognized in a warm and long ovation) all the qualities of that voice: a perfect diction, an excellent projection and power but always measuring the volume, without exaggeration or vain exhibitionism, and an innate elegance when facing a role so well known and therefore in which it is more difficult to camouflage any fault. There was not in this aria, nor was there in the rest of his interventions, always accompanied by an acting performance of a high level. He really was a wonderful Figaro..."
"...Manel Esteve's Figaro was a model of vocal power, but a power sustained by a voice with a very rounded timbre that was used with an expressive sense based on regulations and accents. The diabolical passages of the "silabato" chant sounded clear and fluent, and his phrasing was rooted in the most pure stile "buffo"....."
"...Pleasant interpretive and vocal performance of the Silvio of the Catalan baritone Manel Esteve. The voice always present, careful phrasing, warmth and colors and a generous acting performance made him shine next to the correct Nedda by Dinara Allieva. Together they starred in the beautiful duo of Nedda-Silvio, where both offered one of the most attractive moments of the show. You fill up vocal, acting delivery and emotion with the baton of Henrik Nánasi that seemed to highlight the sound intricacies of this musical oasis in a score where the drama bursts everywhere. Many wondered why Manel Esteve was not in the first cast. Impeccable in his Oh Colombina the Beppe of the tenor Vicenç Esteve, always reliable actor and singer who showed tables and canopy empathy for a saga, that of the Esteve, who continues writing his esteemed and personal contribution to the history of the Liceu."
"...The Silvio of Manel Esteve was the perfect complement, both for his performance (which in this production already begins in the previous opera) and vocal level. The dreamer duo between Nedda and Silvio was one of the highlights of the show."
"...Delivery, security and claw are the credentials that Manel Esteve exhibited with his Enrico, the duo between him and Bonilla not being in vain, in the second act, the most intense moment of the entire performance."
"...Special mention for the tenor-baritone couple (Eurilla-Beltramme) José Manuel Zapata and Manel Esteve, fantastic as actors and comic singers who covered with their grace Introduction and Intermediates, relaxing the operatic action. The session was round."
"...Soldier Belcore, the third of the typical love triangle, was in charge of the baritone Manel Esteve. Rotund voice and excellent stage performance, quickly aroused the laughter among the audience..."
"...Who we have been following for a long time and we see a growth that has shot up in recent years is Manel Esteve. The baritone is in a superlative vocal moment. The voice is projected as a laser beam through the room, showing a warm and pulpy baritone's color, thanks to an impeccable coverage technique, that in some moments reminds it Leo Nucci. The musicality is also very careful and neither the agility, the Sillabati or the phrases of long breath pose the slightest problem ... he was the king of the party from the moment he entered the scene thanks to his charisma and acting skills .... we are facing a singer who is at a time of ideal maturity to assume roles of greater dramatic commitment..."
"...Another of the values of this cast has been the baritone Manel Esteve ... with a Taddeo of reference. Sure, powerful, with large doses of musicality and humor made his character one of the most cheered at the end of the show...."
"... Manel Esteve was an outstanding poet, wearing his usual virtues: beautiful color voice, irreproachable singing and a surprising acting ability. In the comic, of course, highlight the scene in which it is thrown by the sewer. On the vocal side, he knew how to take advantage of an uninteresting character, giving him a little less than unusual enhancement...."
"... Manel Esteve interpreted the writer in search of an argument ... the Prosdocimo poet, and he did it with solvency in all vocal fields, well placed voice, power in the broadcast, security in phrasing and uniformity in color. In addition, his comic was accredited..."
"...The Catalan baritone has excellent qualities that are always appreciated in his appearances ... ...but he had to listen to it in a role of more substance, where he could demonstrate all its quality, and the role of Lescaut, Manon's dissolute cousin, has been ideal for check it out. As an actor he was splendid and musically highlighted his excellent diction, the clarity of his singing, the job well done. Excellent and elegant in his stellar moment ("Oh, Rosalinde"), he did not detract from his teammates in the trio of the fourth act. Bravo."
"...Manel Esteve (Lescaut), Roberto Tagliavini (Le Comte des Grieux), Francisco Vas (Guillot Morfontaine) and Fernando Latorre (Monsieur de Brétigny), all of them of great individual vocal and theatrical quality, formed a reference team for any production of this Opera..."
"...Manel Esteve was Lescaut, Manon's cousin, and it was a pleasure to see him in a larger role than the compressors he usually embodies. He complied perfectly, his voice is robust without being coarse, with a beautiful baritone color, and as an actor he was also much more than convincing.."
"...Manel Esteve as Schaunard continues to demonstrate his know-how for Spanish theaters, with the efficiency to which he has accustomed us, knowing how to take advantage of every moment, with that elegant and always well placed voice...."
Teatro de la Zarzuela (Madrid)/Festival lírico Oviedo 23/02/2018
Platea Magazine - Javier Labrada
"...In this context, the best voice of the night was, without a doubt, that of Manel Esteve, who signed an outstanding Bilou of great scenic delivery and plenty of vocal means, as demonstrated in “Guarrimba”, one of the numbers of the second act..."
Teatro de la Zarzuela (Madrid)/Festival lírico Oviedo 17/02/2018
La música en Siana - Pablo Siana
"...Of the protagonist trio, the Bilou of the baritone Manel Esteve stood out, both in his solos ("Yo soy el mejor", premonitory, "El tequila", and especially "Guarrimba, dios immortal" with the chorus) and in the famous duo with Vicente "Dos amigos así", and the trio al that Cricri joins..."
Teatro de la Zarzuela (Madrid)/Festival lírico Oviedo 07/10/2017
yovoyalteatro - Jonathan Fernández
"...Manel Esteve, baritone, as Bilou. Of the best of the night, intuitive and very timbred, served a function of height in the musical, within a role of not a few song difficulties, especially in his last song, and that Esteve solves perfectly. Beautiful phrasing and beautiful voice that shines a lot in the middle and acute area.
As an actor he is magnificent, of great naturalness, and delicious in all his interventions, giving Bilou a certain innocence very achieved and in total harmony with the character...."
"... Very well Manel Esteve as Roucher, Chénier's friend to whom the poet will dictate his last verses before he died, his voice broad and masterfully managed and his dramatic conviction left him wanting to listen more closely..."
"... Other winners of the night were the Ping-Pang-Pong ministers, respectively played by Manel Esteve, Francisco Vas and Viçens Esteve Madrid.
Vocally they were magnificent with a filling in the ensembles since their stage presentation in the first act and taking care of the different solo interventions of the second, in which he highlighted, for having a more extensive role, the Ping of Manel Esteve with a careful phrasing, without Be carried away by a forced broadcast, rounding the story of the start of the second act, as well as the most lyrical part of the third "Ho una casa nell'Honan" and adapting the vocality and drama of the third act its vocality. To his singing quality he joined his great scenic capacity being the only ones that truly moved the theatrical action...."
"... Barcelona's baritone Manel Esteve reaffirmed his ascendant career in the opera houses of our country with a cool Silvio, credible physically and vocally. His duet together with Nedda was one of the most lyrical moments of the night. Round voice, technical security, perfect voice projection and a very elaborate stage presence make us guess most ambitious projects for this young singer."
"... Magnificent the baritone Manel Esteve, who sang Silvio, Nedda's lover. Brief role but with a wonderful passage, the love duet with she, then both were splendid, obtaining a very well-deserved applause to Bilbao's audience. A name to keep in mind, no doubt."