“In any event, it was a strong lineup…..The tenor José Luis Duval
substituted for Roberto Aronica, who was ill. He was fine as the
Duke of Mantua.”

“The October 11th performance would have been worthy of a much larger company. It was anchored by the Riccardo of José Luis Duval. Duval, a secure singer with attractive tone through his range, sang very well indeed.”

“It was such a joy to hear the ringing high notes of a sensitive tenor in the
central role of Riccardo. José Luis Duval’s warm and balanced tenor was a
constant delight – it readily filled the hall and was deployed with nuance and
sensitivity.”

“Duval, incidentally, is at the top of his game; he starts out strong and seems
to get stronger and stronger as the evening progresses. His sweetly lyrical tenor
suits his expression of love for Amelia, the wife of his right-hand man, Renato.”

“As Calaf, José Luis Duval embraced the role elegantly and in full control of
the vocal difficulties of the score. He did not avoid any of the optional high C’s,
but delivered them with great ease, security, brilliance, and were truly
spectacular. The celebrated aria ‘Nessun dorma’ garnered the public’s ovation.”

“Duval used his golden, lyrical voice and artistic instincts not just to hit
the high notes but also to fill the role more dramatically. He struck up a
nice chemistry with French soprano Sylvie Valayre...”
“In the grand first act aria “Recondita armonia,”Duval sang with a pure yet
well-shaped tone. “After Duval invested every ounce in a gorgeously delivered
‘E lucevan le stelle’, his Cavaradossi went down with an all-too-real thud after
facing the firing squad.”

“José Luis Duval offered a memorable Radames and reaped the major applause of the evening. With great security and without fear, he sang the treacherous high notes at the beginning of the opera in his aria “Se quell guerrier io fossi…”

“… He made his mark in the last act, summoning up very passionate phrasing for his climactic encounter with Carmen.”

“There were capable contributions from José Luis Duval as the Flamenco Singer and two offstage voices.”

“…and the young Mexican tenor José Luis Duval, a more stentorian Duke than most, seemed unfazed by the fearsome tessitura of ‘El il sol dell’anima’."

“José Luis Duval’s sweet-voiced Ismaele contributed nicely to the ensembles, which is about all the tenor has to do in this work.”

“And as Fenena’s sweetheart, Ismaele, tenor José Luis Duval lavished fresh, ringing tones on a part that might seem thankless, since it doesn’t even include an aria.”

“In Tosca, Puccini gives each lead at least one or two moments to shine in the operatic sun. Duval made sure he did – both in his lyrical, felicitously shaped account of “Recondita armonia” in Act I and in the loveliest of love duets with Tosca at the opera’s conclusion.”

“And she had a good partner in José Luis Duval, who portrayed Pinkerton not as a heartless monster but as a man caught in a cross-cultural situation who doesn’t understand what he is doing.”

“Her Pinkerton, José Luis Duval, made welcome attempts at subtle phrasing and was a most solid asset.”

“Duval displayed an attractive lyric-spinto tenor voice and spirited stage presence as the Duke.”

“She was joined by tenor José Luis Duval, an Ismaele of liquid lyricism.”

“In the role of Calaf, we have tenor José Luis Duval, who with an assured interpretation of the aria “Nessun dorma,” received a deserved ovation, becoming a favorite of the public. This tenor, of elevated stature, presents a majestic image on stage, infusing his character with a strong realism.”

“Duval won a boisterous ovation for “Nessun dorma,” wringing a gooseflesh-raising passion from his final line, swelling the high B to the audience’s delight, and powering out high C’s in the riddle scene.”

“José Luis Duval proved solid dramatically and very impressive vocally with a robust tenor and vibrant vocalism: Duval’s clarion high notes in Amore o grillo and Addio fiorito asil were thrillingly expansive, resounding through the cavernous Kravis Auditorium.”

“The Mexican tenor José Luis Duval applies to Pollione a voice vibrant and moving, easily hitting the high notes.”

“Tenor José Luis Duval, as Mario, sang with a great warmth and passion and created a tragic character. Duval made the most of Mario’s arias, singing lovingly about the beauty of his Tosca in comparison to Mary Magdalene, blessing Tosca’s hands for their murder of his enemy, Scarpia. His voice and his carriage delivered the sentiments required.”