Efrain Solis, photo by Valentina Sadiul

Efrain Solis, photo by Valentina Sadiul

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 2019-20 season, he returns to Utah Opera as Lieutenant Audebert in Puts’ Silent Night and Virginia Opera as Di Cosimo in Catán’s Il postino in addition to making his debut with Fort Worth Opera as Schaunard in La bohème. He also joins the Cincinnati Song Initiative for a program of song by Granados and Turina. Last season, he reprised Mercutio in Roméo et Juliette with Utah Opera, sang his first performances of El Payador in Piazzola’s Maria de Buenos Aires with Opera Southwest, returned to his beloved characterization of Mark in Martinez’s Cruzar la cara de la Luna with El Paso Opera, and joined the New York Festival of Song again for a program of Lorca songs.

He joined both Houston Grand Opera’s HGOCo and New York City Opera as Mark in Martinez’s Cruzar la cara de la luna. Other recent performances for the baritone include Mercutio in Roméo et Juliette with Opera Carolina, Virginia Opera, and Toledo Opera; Figaro in Le nozze di Figaro with Opera Memphis and Livermore Valley Opera; Slook in La cambiale di matrimonio with Nicholas McGegan conducting Philharmonia Baroque; Golaud in Pelléas et Mélisande and Glass’ Hydrogen Jukebox with West Edge Opera; Fiesque in Maria di Rohan with Washington Concert Opera, Gaspar in Rita with the New Century Chamber Orchestra, and Dick in Blitzstein’s The Cradle Will Rock with Opera Saratoga. He joined both Opera Delaware and Baltimore Concert Opera for concerts of opera favorites.

Mr. Solis sang his first performances of Mahler’s Lieder eines fahrenden Gesellen with the Palo Alto Philharmonic and Brahms’ Ein deutsches Requiem as a guest artist at Concordia College. He joined the Berkeley Community Chorus and Orchestra for Britten’s War Requiem and both Las Vegas Philharmonic and New Choral Society for Handel’s Messiah. An active recitalist, he has previous joined the New York Festival of Song for its Compositora program and has been presented in a Schwabacher Debut Recital in San Francisco and offered an additional recital program at the El Camino College Center for the Arts.

He is an alumnus of the prestigious Merola Opera Program in association with San Francisco Opera, at which he sang Junius in The Rape of Lucretia and covered Count Almaviva in Le nozze di Figaro. He is also a former member of Opera Santa Barbara’s Studio Artist Program. In 2013, he was a Grand Finalist in the Metropolitan Opera National Council Auditions and sang arias from Rodelinda and Le nozze di Figaro on the famed company’s stage with Marco Armilianto conducting. He was also a finalist in Houston Grand Opera's Eleanor McCollum Competition and the Loren L. Zachary Society for the Performing Arts National Vocal Competition. He holds a Master of Music from San Francisco Conservatory of Music, at which he sang Guglielmo in Così fan tutte and Mahler’s Lieder eines fahrenden Gesellen and while at Chapman University, his performances included Beethoven’s Mass in C and Puccini’s Messa di Gloria.


He was just as persuasive in the ensuing set of Russian songs, bringing still-voiced intensity to a folksong setting by Georgy Sviridov, and shaping Anton Rubenstein’s 'Swirling Waves' with gorgeous fluidity that led to a striking falsetto coda. Well-chosen songs in Spanish by María Grever, Carlos Gardel and (as an encore) Agustín Pérez Soriano found him dispatching pointed phrasing and hearty romantic ardor in roughly equal measure.
San Francisco Chronicle

Raves

“Efraín Solís, as Junius, filled the auditorium with prodigious sound. Solís complimented the size of his voice with tonal beauty and stage confidence.”

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