The renowned baritone Omar Carrión was Figaro, the mischievous barber, highly recognized by the people of the city for his interpretaion of the role.
Carrión has 130 representations of this Rossinian role in his artistic history...which he performed with great elegance and good taste, receiving a heartfelt ovation from the public after the world-famous cavalet “Largo al Factotum.

Simon Boccanegra was played by great baritones, in the same Teatro Colon the great José Van Damdid it in 1995. In world history we remember Tito Gobbi, Lawrence Tibbett, Leonard Warren, PieroCappuccilli and Sherril Milnes. The latter, a great American baritone, interpreted it in 1984 in the Metbrilliantly and my reference to this performance is not accidental. I saw and felt in Omar Carrión many similarities with Milnes, and beyond his physical resemblance (and having taken classes and singing along with him), his voice is worth highlighting. Carrión is a recognized baritone and has interpreted a variety of characters in his record around the world. His interpretation of Boccanegra was really important, his voice flow adds to a great technique and a fine acting vein that allows him to be credible in every facet of the character. With Carrión, "Boccanegra" comes to life in an unforgettable way.
Bravo for Omar Carrión!

Who offered the most complete and satisfactory work among the main singers was the most experienced, and at the same time the only international member of the cast, the Argentine baritone Omar Carrión, well known to the Chilean public and who has always stood out for his Verdian interpretations: in the Municipal de Santiago he has sung in “La Traviata”, “Rigoletto”, “Simón Boccanegra”, “Los dos Foscari” and also in “El troubadour” the last time this work was offered in Chile, in 2013. In 2012 He had already sung in the TRM, as Figaro in "The Barber of Seville", and now he returned to that stage just a couple of days before the premiere, to replace the colleague originally considered for the role of the Count of Luna, the Chilean baritone Arturo Jiménez. Carrión demonstrates a bulletproof trade, knows how to handle his voice very well and his noble song was the most appropriate to the composer's style, which the public knew how to appreciate, judging by the loud applause received at the end of the performance.

In the role of the Count Luna was the Argentine baritone Omar Carrión, who wore total mastery of his character and gave style lessons with his experience, already tested at the Teatro Colón in Buenos Aires and other settings.

To complete the triumphant protagonist tem was Master Omar Carrión, displaying his voice and his scenic class, a Sharpless who joined the ideal whole of this proposal.

Don Omar Carrión was a pleasure...he is Giorgio Germont (I remembered my father and my paternal grandfather with his imprint).

The baritone Omar Carrión was a good Foscari dux, noble, convincing and serene in acting, and competent vocal delivery, especially in the last scene.

Omar Carrión was an unsurpassed barber in the sense of humor, phrasing quality, timbral beauty...

Omar Carrión sang with his beautiful timbre, his impeccable green line, but most importantly, he generated an original and more human version than the traditional Giorgio Germont. The scene with his son was for me the most moving part of the show. He did not provide the typical Germont father, authoritarian and hard on his son. He gave us a father who understands the situation and just tries to comfort him. A true creation and was justly applauded by the public.

Omar Carrión in the leading role, the most coveted by the vast majority of baritones, showed high artistic quality. With timbral richness, impeccable legato and an expressive control of the dynamics, he captured the most extraordinary aspects of the character, radiating nobility of feelings and at the same time, offering optimal vocal performance.

Obviously, you have to start by taking off your hat before the great creation of Omar Carrión in the title role, confirming its conditions of great Verdi baritone. Carrión has the ideal vocal timbre, the facility for the treble that Verdi demands from his baritones relentlessly and above all things the total dominance of the scene. Favored by the smaller size of the room in relation to the Colón where he sang it a few years ago, he placed a couple of stunning pianists and had an excellent idea with Segal that made the final scene one of those unforgettable moments that from time to time Come on stage.
As the score marks, Simon in his last moment of life directs his thoughts towards his beloved Mary and exclaims his name, before expiring. Carrión, apart from issuing a faint MARIA turned his gaze to the empty look that lit up with the presence of the one whom I love all my life and extended his hand soon to meet her in the hereafter- It was the glorious end that the version , for his qualities, he deserved...