A brilliant Alex Vicens as Fernando, whose generosity made the public go crazy.

Alex Vicens sings Edgardo with melting and true differentiated vocal splendor. He holds the final so sovereign as rarely to hear is, and he is - a dazzling appearance - a desperate young man.

Rodolfo was the spaniard Alex Vicens, who owns not only a very good and appropriate voice for Puccini's voluptuary tunes, but also an appealing appearance that makes the poet credible and moves away from the "ice-cream seller" pattern of many latin tenors. The further development of the young tenor, who studies in Barcelona and also had visited a master course by the unforgettable Giacomo Aragall, is expected with attention.

So Alex Vicens received the most applaus. His Rodolfo is characterised by vocal and scenic credibility. The good-looking young catalan has a rather bright tenor with noticeable brillancy and a top without any difficulties.

Star of the evening: Alex Vicens, a poor amorous poet to fall in love with. (…)
He is filled with energy and dynamics, filled with fresh virtuosity. He combines polished vocalism with stage presence at the highest level.

Premiere von Puccinis "La Bohème" Sonntag Abend im Grossen Haus

The most outstanding singer at the première was the tenor. Alex Vicens doesn’t need to work hard to show his splendid voice, which fits the role of Rodolfo beautifully.
A discovery.

Landestheater: Im schrägen Künstlerhimmel

Her Nemorino was Alex Vicens. He is a very attractive lyric tenor who sings with ease. He is not a strict belcanto specialist even if he did sing with fine line and good style, but what made his performance most attractive was that he was Nemorino from the moment the curtain went up. Here is an artist who has studied each line of his recitatives and their meaning, and delivers them with the exact and precise vocal character, add to that his attention to the stage was 150%. He was acting every single moment even when he was in second term behind the chorus. Bravo!

Tenor Alex Vicens counts among his teachers Carlo Bergonzi and Alfredo Kraus, and it shows. His metallic voice is basically a light, flexible, lyric tenor with an extraordinarily powerful top, shown to best advantage in a perfectly executed sustained high C to cap "La donna è mobile." With George Clooney's profile and the technical security to take two phrases in one breath, he made a young, impetuous Duke. I just wish he had sung "Parmi veder le lagrime" with more of Kraus's finesses and less of Bergonzi's trumpet.