Diego Silva

Recipient of the Placido Domingo Scholarship from Sociedad International de Valores del Arte Mexicano; first prize winner of the Carlo Morelli Singing Competition and Operalia finalist. Mexican tenor Diego Silva studied at The Curtis Institute of Music with a fourth year as resident artist at the AVA Philadelphia.


Diego Silva made his Metropolitan Opera debut in the 2016/17 season as Tybalt in their new production of Roméo et Juliette:

“Diego Silva made an exceptional debut as Tybalt, flashing a consistent, buttery tenor and working himself up to burning insistence as he made his fateful challenge to Romeo.” (New York Classical Review)

Highlights of the 2018/19 season include his role debut as title role Roméo et Juliette and further appearances as Alfredo La Traviata at Luzerner Theater, as well as a role and UK debut as Rinuccio Gianni Schicchi for Opera North. Further ahead Diego will return to Opera di Metz as the Duca Rigoletto, and make his  house debut with Monte-Carlo Opera as Arturo Lucia di Lammermoor.


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    02 Apr 17 VERDI 'La Traviata' (Alfredo)
    Luzerner Theater

    “Diego Silva als Alfredo glänzt als auffallend stimmschöner Tenor, der ungeniert, aber sehr geschmackvoll in der Belcanto-Tradition seines Fachs steht”

    “Diego Silva as Alfredo shines as strikingly dynamic tenor, which is uninhibited but very tasteful in the Belcanto tradition of the fach”
    Felix Michel, Neue Zürcher Zeitung, 5 April 2017

    “performed to perfection, Alfredo (Diego Silva)”
    Charlie Hartmann, Living In Luzern, May 2017

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    21 Jan 17 GOUNOD Roméo et Juliette (Tybalt)
    Metropolitan Opera

    “Diego Silva made an exceptional debut as Tybalt, flashing a consistent, buttery tenor and working himself up to burning insistence as he made his fateful challenge to Romeo.”
    Eric C. Simpson, New York Classical Review, January 2017

    “The crowd scenes are inventively handled, however, especially the street brawl in front when Tybalt (Diego Silva, an appealing young tenor in his Met debut) gets into a sword fight with Roméo’s hotheaded friend Mercutio”
    Anthony Tommasini, New York Times, 1 January 2017 

    “Making his house debut, in the role of Tybalt, tenor Diego Silva was vibrant of tone and of swordsmanship”
    Susan Elliott, Classical Voice America, 3 January 2017

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    01 May 14 MASSENET Manon (des Grieux)
    Academy of Vocal Arts

    “…the vocally muted rapture he projected in des Grieux’s Act II “Le Reve” was a minor miracle of Gallic seamlessness.”
    David Patrick Stearns, The Inquirer Philadelphia, May 2, 2014

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    01 May 12 Donizetti L'Elisir d'Amore (Nemorino)
    Academy of Vocal Arts

    “The (AVA) found an unforgettable Nemorino in Mexican tenor and first-year resident artist Diego Silva, whom the audience falls for faster than Nemorino tumbles for the indifferent Adina. Silva endears himself as the shy, lovestruck librarian (in this version) and turns in an utterly remarkable performance.

    While the production values and other performances were solid – a hallmark of all AVA shows – Silva’s portrayal was sheer magic from the moment he stepped on stage. Beginning with his Act I cavatina Quanto è bella, quanto è cara Silva’s lyric tenor had a shiny spinto quality as bright and clear as a bell that also reminded me of several contemporary opera superstar tenors. Think Juan Diego Flórez, and particularly, Vittorio Grigolo.

    And who doesn’t attend the opera waiting for such breakout moments? We all do, because it is mesmerizing when it happens. So please indulge this reviewer for waxing on about a single performer when other artists and aspects likewise deserve mention. Silva’s “Una Furtiva Lagrima” was both adorable and beautiful, and reverentially adored and appreciated – the resulting bravos were in abundance.”
    Gale Martin, Operatoonity, May 11, 2012

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    01 Jan 13 Tchaikovsky Eugene Onegin (Lensky)
    Academy of Vocal Arts

    “AVA has had many break-out stars in their productions and Diego Silva joined that rank as the passionate Lensky… his lyrical line and dramatic presence in this part is stellar.”
    Lewis Whittington, ConcertoNet, January 15, 2013

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    01 Apr 10 El Paso Symphony Orchestra
    Plaza Theatre

    “The amiably handsome Silva, making his debut with a professional American orchestra, easily won over Saturday’s audience, the beauty and power of his voice crystal clear in the Plaza Theatre, which has a tendency to flatten the symphony’s sound. He sang five arias in all, two of which are commonly known, even to novice listeners like me, and two of which are zarzuelas, a Spanish form of opera.

    A woman near me exclaimed “Oh my” when the kid with the long, curly black hair strolled out in his tux. I think she spoke for many females in the audience. The power of his voice spoke volumes, too, once he started singing “La donna e mobile,” an aria from Verdi’s “Rigoletto” that’s often used in movies and TV commercials.

    It was the second piece on the program, but the first aria, and it served as a good way to ease the audience of about 1,200 into what followed. “Che gelida manina,” from Puccini’s “La Boheme,” another frequently heard aria, allowed the boyish tenor to glide fluidly and effortlessly over the cascading notes…

    Silva then returned in the second half for the two zarzuelas, Serrano’s soulful “La roca fria del Calario” from “La dolorosa” and Sorozabal’s stirring “No Puede Ser” from “La taberna del Puerto.”

    These pieces, perhaps closer to his heart, inspired more passion and animation from the Curtis Institute of Music student, who not only earned a standing ovation after the latter, but sang it again for the encore (the orchestra performed a prelude from Wagner’s “Lohengrin” as the encore Friday).

    It was apparent from the crowd’s enthusiastic response, and Silva’s own beaming smile, that he can connect with an audience. He’s got the vocal goods to go with the looks, though he did seem to struggle — and lacked the same kind of power — with the lower part of his range. But you can just feel that his voice is just going to get bigger and better.

    I had the privilege of standing a few feet away from him at a post-concert reception, where he sang “O Solo Mio” with a string quartet from Coronado High School. It had to be a thrill for them. It was a short but magical moment for those who watched.”
    Doug Pullen, El Paso Times, April 19, 2010



‘La Sonnambula’ (Elvino)

‘Les Pêcheurs de Perles’ (Nadir)

‘Anna Bolena’ (Percy)
‘Don Pasquale’ (Ernesto)
‘L’Elisir d’amore’ (Nemorino)
‘Lucia di Lammermoor’ (Edgardo)
‘Maria Stuarda’ (Leicester)

‘Faust’ (title role)
‘Romeo et Juliette’ (Romeo, Tybalt)

‘Manon’ (Des Grieux)

‘Così fan tutte’ (Ferrando)
‘Don Giovanni’ (Don Ottavio)
‘Die Zauberflöte’ (Tamino)

‘Gianni Schicchi’ (Rinuccio)
‘La Rondine’ (Ruggero)

‘Der Rosenkavalier’ (Italian tenor)

‘Eugene Onegin’ (Lensky)

‘Rigoletto’ (Duca)
‘La Traviata’ (Alfredo)


‘Petit Messa Solennelle’
‘Stabat Mater’