An El Paso, Texas native, Mexican-American Baritone Luis Alejandro Orozco has been praised for his “voluminous baritone and beautiful legato.”
During the COVID-19 impacted 2020-2021 season, Luis Orozco makes his Swiss debut as Riolobo in Florencia en el Amazonas with Theater St. Gallen, makes his role debut as Giorgio Germont in La traviata with Dayton Opera (cancelled), performs Escamillo in Carmen with Pensacola Opera, and appears with Opera Southwest for the role of Diego in Frida.
Luis began his COVID-19 shortened 2019-2020 season with Opera in Williamsburg singing Zurga in The Pearl Fishers(performed), then joined Opera Roanoke to sing Silvio in their production of Pagliacci (performed). With Opera Santa Barbara, he debuted the role of Sharpless in Madama Butterfly (performed), followed by performances as the baritone soloist in Carmina Burana with Wichita Symphony Orchestra (performed). He essayed the bass solos in part one of Handel’s Messiah with the Las Vegas Philharmonic (performed), appeared as Maximillian in Candide with Syracuse Opera (performed), and was scheduled to sing Escamillo with Florentine Opera in their production of Tragedy of Carmen (cancelled).
During the summer of 2018, Luis appeared as Escamillo in Carmen with Mill City Summer Opera, and traveled across Russia in a concert tour honoring Bernstein. His 2018-2019 season began with his Arizona Opera company debut, singing El Payador in Maria de Buenos Aires. He joined both Opera Santa Barbara and Anchorage Opera as Marcello in La bohème, and returned to the role of Riolobo in Florencia en el Amazonas with Pensacola Opera.
Luis began the 2017-2018 season with Mill City Summer Opera as El Payador in Maria de Buenos Aires, a role which also marked his debut with Nashville Opera and the Fort Worth Opera. He also made his debut with San Diego Opera as Riolobo in Florencia en el Amazonas, and returned to Syracuse Opera as Escamillo in Carmen, Anchorage Opera as Hannah before in As One, and New Orleans Opera as El Payador in Maria de Buenos Aires.
Previous seasons have included performances of Figaro in Il barbiere di Siviglia with Florentine Opera and Syracuse Opera, Escamillo in Carmen with Michigan Opera Theater, Mercutio in Roméo et Juliette with Lyric Opera Baltimore, Opera Grand Rapids, and Austin Lyric Opera, Belcore in L’elisir d’amore with Opera Santa Barbara, Riolobo in Florencia en el Amazonas with Washington National Opera and Arizona Opera, Hannah before in As One with Urban Arias, Taddeo in L’italiana in Algeri with Opera Santa Barbara, Perichaud in La Rondine with Opera Theater of St. Louis, the title role in Don Giovanni with Opera Western Reserve, and Marcello in La bohéme with Kentucky Opera. He is also known as the leading interpreter in the United States for the role of El Payador in Piazzolla’s Maria de Buenos Aires, a role which he has performed at Florida Grand Opera, Cincinnati Opera, the Aspen Music Festival, and Anchorage Opera.
Overseas, Orozco has performed the role of Papageno in Mozart’s Magic Flute, with The Seoul International Opera Festival in South Korea, and the title role in Rossini’s Il Signor Bruschino with the CCM Spoleto Festival. Orozco was a part of the Kennedy Center World Stages Festival in the premiere staged reading of Fallujah by composer Tobin Stokes in 2013.
Florentine Opera – The Barber of Seville
Figaro is in his wheelhouse. He is a flamboyant, stylish, delightful Figaro in total ease with the tongue twists and commanding mannerisms – an almost storybook personification.”
Dominique Paul Noth, Urban Milwaukee
“Luis Alejandro Orozco creates a playful, charming, gregarious Figaro, always up to something while singing with power, focus and complete ease.”
Elaine Schmidt, Milwaukee Journal Sentinel
“Cutting a handsome, eye-catching figure onstage, baritone Luis Alejandro Orozco worked his way effortlessly through the demanding role of the barber, Figaro, bringing charismatic energy to a character whose main functions appears to be assisting Count Almaviva with various disguises in his pursuit of the lovely Rosina.
Steve Spice, Shepherd Express
Michigan Opera Theater – Carmen
Baritone Luis Orozco, who, of course, sings the signature “Votre toast, je peux vous le render,” commonly known as “The “Toreador Song,” and lures Carmen to his persona, does a very solid job throughout.”
David Kiley, Encore Michigan
Opera Santa Barbara – Elixir of Love
As Belcore, Luis Alejandro Orozco was a delight, capturing the pompous posturing and opportunistic dealings of his character in a dynamic performance that neatly united the physical and the vocal dimensions.”
Santa Barbara Independent
Urban Arias – As One
The Protagonist, Hannah, is played by two singers, a baritone and a mezzo soprano; (here Luis Alejandro Orozco and Ashley Cutright, who physically resemble each other and both sing very well, a notable casting coup).”
Anne Midgette, The Washington Post
“Luis Alejandro Orozco sings with exhilarating power and sensitivity. Orozco and Cutright’s physical presences on stage are balletic with grace and stunning in synchronicity.”
John Stoltenberg, DC Metro Theater Arts
Syracuse Opera – Barber of Seville
The title role was well played by baritone, Luis Alejandro Orozco. His was a lanky, lithe barber with a clear strong voice and excellent presence.”
Abel Searor, Syracuse.com
Opera Santa Barbara – L’italiana in Algeri
Baritone Luis Orozco’s immaculate sense of comedic timing and facial expressions nearly stole the show in his role as Taddeo, Isabella’s feckless admirer.”
Daniel Kepl, Casa Magazine
Washington National Opera – Florencia en el Amazonas
Luis Alejandro Orozco was Riolobo, a member of the crew on the ship taking Florencia and several music lovers up the Amazon. Orozco’s charisma and smooth singing introduced the river’s magical world and he told the story with excellent diction.”
Maria Nockin, Opera Today
Florida Grand Opera – Maria de Buenos Aires
Luis Alejandro Orozco as the Payador (In FGO’s Production of Maria de Buenos Aires) was magnetic. Orozco’s voluminous baritone and beautiful legato suggest a Verdian in the making.”
Lawrence Budmen, The South Florida Classical Review