Efrain Solis, photo by Valentina Sadiul

Efrain Solis, photo by Valentina Sadiul


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 2017-18 season, he joins both Houston Grand Opera’s HGOCo and New York City Opera as Mark in Martinez’s Cruzar la cara de la Luna.  He also returns to West Edge Opera in his home state of California for Golaud in his first performances of Pelléas et Mélisande and joins Washington Concert Opera as Fiesque in Maria di Rohan. On the concert stage, he sings his first performances of Mahler’s Lieder eines fahrenden Gesellen with the Palo Alto Philharmonic, Handel’s Messiah with the Las Vegas Philharmonic, Brahms’ Ein deutsches Requiem as a guest artist at Concordia College, and concerts of opera favorites with both Opera Delaware and Baltimore Concert Opera. Future seasons include his debut with Utah Opera and adding a new role with his repertoire with Opera Southwest. Last season, he debuted the role of Figaro in Le nozze di Figaro with Opera Memphis and reprised it in a return to Livermore Valley Opera. He also sang Dick in Blitzstein’s The Cradle Will Rock with Opera Saratoga, was presented in recital by El Camino College Center for the Arts, returned to the New Century Chamber Orchestra for a Gershwin gala, and joined the New Choral Society for Handel’s Messiah.

Other recent performances for the baritone include Mercutio in Roméo et Juliette with Opera Carolina, Virginia Opera, and Toledo Opera; Slook in La cambiale di matrimonio with Nicholas McGegan conducting Philharmonia Baroque; and Glass’ Hydrogen Jukebox with West Edge Opera. He also joined the New Century Chamber Orchestra and Nadja Salerno-Sonnenberg as Gaspar in a semi-staged production of Donizetti’s Rita and the Berkeley Community Chorus and Orchestra for Britten’s War Requiem. An active recitalist, he joined Steven Blier and the New York Festival of Song for its Compositora program and was presented in a Schwabacher Debut Recital in San Francisco.

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. 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


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








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