“Eugene Villanueva macht mit seinem virilen, runden Bariton aus Lescaut einen vielschichtigeren Sergeant, als ihn die Regie zeigt.”

— Sued Kurier

“Bariton Eugene Villanueva überrascht als Conte mit bestens entwickelter Stimm - und Ausdruckskraft. Ein Mann der Höflichkeit, ebenso wie der Gewalt, ein Machtsüchtiger.”

— Basellandschaftliche Zeitung

“Opernmitglied Eugene Villanueva - ein heller Bariton mit großem Zukunftspotenzial.”

— Badische Zeitung

“Ihr Gatte, der Graf Almaviva von Eugene Villanueva, verblüfft allein schon durch die Tatsache, dass der junge Amerikaner ist und schon eine Hauptrolle singt - und dies ohne Fehl und Tadel.”

— Basler Zeitung

“Einen grundsätzlich sympatischen Grafen gibt Eugene Villanueva; einen, der genau zwischen Kraft und Poltern unterscheidet.” 

— Klassik Info Magazine

“Eugene Villanueva (Graf) besticht stimmlich durch kraftvolle Autorität, verkörpert aber von Anfang auch den impulsiven Liebhaber, der hartnäckig um Susanna wirbt und gleichzeitig vor Eifersucht tobt.”

— OperaPoint.com

“Und wie sich die Männer gleichen: Eugene Villanueva als Graf Almaviva wirkt hier wie die etwas weltmännischere und noblere Ausgabe des Figaro, kein frühvergreister Lüstling, sondern ein Mann in den besten Jahren.”

— Sued Kurier

“Eugene Villanueva’s Albert ist gefangen im eigenen emotionalen Wirrwarr, Werther ähnlich: eifersüchtig, mal aufbrausend, mal in sich selbst zurücksinkend. Präzis gestaltet Villanueva mit seinem wunderschönen, geschmeidigen und zugliech kernigen Bariton die Rolle. Konsequent führt die Regie im Selbstmord - als der Schuss von irgenwocher kommt - die beiden Figuren zusammen. Villanueva singt ergreifend den sterbenden Werther. Massenet selbst schrieb ein Fassung auch für Bariton. Es ist ein starker Schluss.”

— Christian Flur, Basellandschaftliche Zeitung


"Baritone Eugene Villanueva's strong, expressive voice did wonders with the opening pieces by Brahms. Villanueva's compelling presentation and the wonderful piano of Warren Jones (I hesitate to call it "accompaniment," since his masterful work was at one with Villanueva) were a joy to hear. Villanueva turned to songs by Hugo Wolf, who injected some welcome humor into the program, which the baritone sang with relish.

— Richard Sasanow, Broadwayworld.com

“Blessed with perfect posture, broad shoulders and chest, a full head of shiny black hair; and an easy, assuring smile that has surely melted a thousand hearts, Villanueva has a voice as handsome as his countenance...it quickly blossoms into a full, resonant instrument with generous hints of glory on top. His diction is exemplary, with vowels and consonants clearly sounded within a flowing, legato line.”

— Jason Victor Serinus, San Francisco Classical Voice

“Baritone Eugene Villanueva with pianist collaborator John Churchwell thrilled the audience with a performance worthy to present on the world’s finest stages. From Schubert, Vaughan Williams and Tosti to the contemporary American Folk Song arrangements by Steven Mark Kohn, Villanueva captured the regionalism and style of each song as the composer intended. Churchwell was right there with him, the two breathing together through phrases of bold and subtle nuances of dynamics and impeccable technique and artistry. Villanueva’s voice is a rich full-bodied timbre and he sings seamlessly from the bottom to the top of his range. He delivered the high notes in the Schubert songs with lightness and delicacy, the Tosti with fluid portamentos, and the Kohn songs expressly Americana.”

— Elise Rotchford, Performing Arts Monterey Bay

“As for the singing, Villanueva’s richly sonorous voice was sheer perfection. He has the technical ability to explore the seeming infinite range of tone colors needed to hold the enraptured attention of an audience for an entire recital. Further, he enhanced his effortless, silvery sound with subtle theatrical declamations that made every musical moment interesting, transporting and significant.”

— Michael Tierra, Peninsula Reviews

"Eugene Villanueva (Ping), Julius Ahn (Pang) and Scott Ramsey (Pong), dressed in lively, brilliantly colored costumes, were smartly matched in vocal power and skill, giving us an extra dose of credibility and humanity instead of pandering for comic relief."

— Deborah Gover, Opera News

“The other artist who especially impressed me was baritone Eugene Villanueva, who made himself right at home in the 500-seat Terrace - never straining, making the most of every phrase. He was equally at home in the dark melancholy of Yeletksy’s aria from Tchaikovksy’s The Queen of Spades, the refined grace of Fauré’s Clair de lune and the hearty good humor of Ravel’s Chanson à boire.”

— Tim Page, Washington Post

The baritone Eugene Villanueva opened the concert with five Mahler favorites, including a serene “Urlicht,” and he dispatched the roulades of “Wer Hat Dies Liedlein Erdacht?” with ease. (All of the evening’s accompanists were good, but John Churchwell on piano provided notably sensitive support to Mr. Villanueva).

— Zachary Woolfe, The New York Times

The baritone Eugene Villanueva, controlled and ringing at the top, was also eloquent in Yeletsky’s aria from Tchaikovsky’s “Pique Dame.”

— Zachary Woolfe, The New

“Baritone Eugene Villanueva was a multi-voiced revelation, plumbing the curves of phrase and sentiment.”

— Timothy Mangan, The Orange County Register

“The star of the evening turned out to be baritone Eugene Villanueva, who flew down from San Francisco on a few hours notice to replace an indisposed colleague. In the longest and meatiest solo role in the piece, Villanueva delivered an assured, powerful performance, particularly given that he was working with no rehearsal. His is a name to keep watching.”

— Robert D. Thomas, Pasadena Star News

“The real star of the evening was baritone Eugene Villanueva who was a last minute replacement for an ailing Keith Phares. Villanueva has one of the loveliest baritone voices I have ever heard. It is strong and has a rich texture without being too heavy. His part required great agility going from head to chest to full baritone. He accomplished this with great mastery. This was his Bowl debut and an important one for his career. He made a very impressive mark and I am sure we will hear from him again.”

— Robert Machray, BlogCritics Magazine

“And having heard more than one recording of these pieces, I was impressed that baritone Eugene Villanueva could pull off the gut-wrenching grunts and snarls required for Nouvelle Aventures. Considering that opera singers typically run around wearing scarves in the summer and avoiding any kind of vocal chord strain, I have no idea how they train for these kinds of pieces, but he must have done his homework”

— Dan Collins, LAist

“Eugene Villanueva is a fine young baritone with all the prerequisites for a wonderful career. He has a beautiful and expressive baritone voice. I expect really good things from him”

— Marilyn Horne, mezzo-soprano


“Eugene Villanueva, très applaudi, chante Slook le canadien rustaud mais bonne âme, avec la conviction et l’assurance d’un pro. Sa ligne de chant est d’une excellente tenue et le phrasé très bien détaillé.” 

— Patrick De Maria, La Marseillaise

“Eugene Villanueva a l’abattage et l’éclat du baryton vedette.”

— Luc Hernandez, ConcertClassic.com

“On retiendra le Slook bien en voix d’Eugene Villanueva, dont le timbre déjà riche s’avère prometteur lorsqu’il se libérera de l’appréciable concentration de l’émission.”

— Gilles Charlassier, ConcertoNet.com

“La prestation du baryton Eugene Villanueva dans le rôle de Slook est particulièrement remarquable. Bon acteur, il sait combiner habilement le chant (baryton puissant) aux gestuels, y compris l’expression éloquente du visage.”

— Victoria Okada, ResMusica.com