The singing itself rose to an even higher sphere. (...) the leads were nothing less than superb. (...) As the title hero, Portuguese tenor Fernando Guimarães was likewise remarkable; his intelligently reserved presence, facility with period convention, and warmly flexible timbre made for an all but ideal Ulisse.
Thomas Garvey – The Hub Review full review
Portuguese tenor Fernando Guimarães is here making his U.S. debut as Ulysses, and gave a smoldering and passionate interpretation of a fairly uninspiring role. None of the cleverness, hubris, or fatigue of Homer’s original is manifest in Monteverdi’s version, but Guimarães–aided by an expressive tenor capable of both ringing declamation and tender wisps of sound–was nonetheless magnetic.
Angelo Mao – Boston Classical Review full review
The show's star, Fernando Guimarães in the role of Ulisse, excelled at bringing a melodic, yet conversational quality to the abundance of recitatives.
Melanie O'Neill – Examiner.com full review
The large cast of opera veterans and relative tyros, of international stars and local stalwarts, was superb. (...) As Ulysses, Fernando Guimarães sang with fluency and total understanding of Baroque style.
David Bonetti – Berkshire Fine Arts full review
As Ulisse, tenor Fernando Guimarães was equally accomplished vocally, with a rhythmic and tonal clarity that remained distinct even in his lowest range.
Virginia Newes – The Boston Musical Intelligencer full review
A performance on April 25 in the New England Conservatory’s Jordan Hall byBoston Baroque (...) marked two significant debuts: the first appearance in the U.S. of the impressive Portuguese tenor Fernando Guimarães in the title role, and that of Pearlman’s new performance edition of Claudio Monteverdi’s Il ritorno d’Ulisse in patria. It proved to be the most accurate, authentic, and convincing revival of an early Italian opera I have ever witnessed.
Marvin J. Ward – Classical Voice North America full review
The singing throughout was excellent (...) Fernando Guimarães created an animated and differentiated Ulysses.
Jeffrey Gantz – The Boston Globe full review