Vocalist - Bass-Baritone
Acclaim
Last Knight at the Opera

“While Argentine bass-baritone Eduardo Chama handled adroitly his misogynist buffa aria early in the opera, his powerful, scene-closing solo at the end of the fourth act, where he berates Dulcinea’s shallow friends for mocking Don Quixote, gave the production a compelling emotional depth that had been missing all evening.”

Ken Herman, San Diego Story
Don Quixote - San Diego Opera

“He [Don Quixote] made his entrance on horseback (not a real horse, of course) with the excellent Eduardo Chama as Sancho Panza.”

James Chute, San Diego Union Times
Furlanetto Conquers La Mancha - With Dignity

“Argentinean bass-baritone Eduardo Chama was the Don’s perfect foil as Sancho Panza, thoroughly in synch with Furlanetto both vocally and dramatically, embodying his share of a relationship in which both characters deeply care for and respect each other. He skillfully balanced his vocal, dramatic and comedic approaches between the lighter, more Mozartean aria early in the opera and the heavier, more imposing singing required of him in the later acts. His La Donna É Mobile monologue was utterly convincing in its vocal sonorousness, consistency, and characterization.”

Erica Miner, LA Opus
The Italian Girl in Algiers never wavers in fun

“Eduardo Chama played the difficult role of Mustafa, both a villain and a chump. Without a good Mustafa, the opera cannot really succeed, and in this role Chama managed very well.”

Kenneth Delong, Calgary Herald
Portland Opera/Falstaff
“Bass-baritone Chama lofted lovely, firm falsetto at ‘Io son di Sir John Falstaff’ and ‘San Martino’ in the first scene. Later, mighty roars marked the other end of his dynamic range, but he also found more opportunities to sing softly. He sang and acted with much color and was genuinely funny, especially in the third scene, when he followed ‘Alice è mia!’ with an ebullient dance, deftly matched to the laughing music and repeated moments later at the music’s return.”
Mark Mandel, Opera News
“Eduardo Chama created an unforgettable Falstaff in Portland Opera’s production of Verdi’s masterpiece of comedy. Chama anchored an exceptionally well-balanced cast that brought out all of the nuances, both in singing and acting .… Chama’s Falstaff was full of himself, but in a loveable way.” Read More...
James Bash, Oregon Music News
'Falstaff' wraps up season on high note
“In the title role, Eduardo Chama led with a charismatic star turn, vocally strong and genuinely funny.”
James McQuillen, The Oregonian
Atlanta Opera performs 'Don Giovanni' in fun, effective way
"Eduardo Chama, who masterfully plays the servant Leporello, is a lovable and funny wingman. When he launches into the famous Catalogue Aria where he outlines Don Giovanni's worldwide conquests, there is this gossipy modernity to his voice that makes it sound as if he's outing his master on Facebook or a Twitter feed."
Jamila Robinson, Atlanta Journal-Constitution
Atlanta Opera's Don Giovanni this weekend at Cobb Energy Performing Arts Centre
"His servant Leporello (played brilliantly by Eduardo Chama) humorously laments what he must endure as his master frolics through life carefree, though he remains faithful in assisting the playboy with treachery."
Stacey L. Evans, Cobb Life Magazine
'Don Quixote' makes for a gratifying night at Seattle Opera
"Both Sancho Panzas, Saturday's Eduardo Chama and Sunday's Richard Bernstein, brought to their roles the necessary ballast to balance the airy elocutions of their fellow knight-errants. Each man sang beautifully."
Sumi Hahn, Seattle Times
'Don Quixote' sublimely mad
"Bass-baritone Eduardo Chama was born to play Sancho Panza."
Jackson Holtz, Everett Herald
Il Viaggio a Sicilia
"He [Don Quichotte] was matched every step of the way by Eduardo Chama's lively rendition of Sancho Panza. Mr. Chama has a bright, well-placed baritone that has good ping and responsive technique. He was a perfect foil for Mr. Furlanetto and the two set off dramatic sparks on many occasions. Too, Eduardo communicated a touchingly simple admiration for his master that illuminated every bit of pathos that Massenet intended. Furlanetto and Chama were a wholly winning, first-rate combination."
James Sohre, Opera Today
La Cenerentola, Washington Concert Opera, 5/9/10
"Eduardo Chama proved to be a boffo buffo, hamming it up delectably as Don Magnifico. He summoned a rich repertory of facial expressions to match the colorful vocal nuances that inflected his surely sung portrayal."
Tim Smith, Opera News
WCO's "Cenerentola"
"Edwardo Chama's Don Magnifico was a masterpiece of comic timing, the well-placed leer, the double take. His bass-baritone is an agile instrument of many colors and he used his whole arsenal in broad strokes to paint the boorish character he was."
Joan Reinthaler, Washington Post
Falstaff closes out Seattle Opera's Verdi survey
"Eduardo Chama gave a sturdy performance of Falstaff, coupled with excellent comedic timing."
Zach Carstensen, Gathering Note
Come and be charmed by Verdi's Falstaff
"Bass-baritone Eduardo Chama (Sunday cast) never strayed from excellent vocal technique and sang with excellent top notes, all the while nearly matching the comic acting of Peter Rose."
Rod Parke, Seattle Gay News
A supreme 'Falstaff' at Seattle Opera
"Eduardo Chama ... presented an appealing portrayal of the fat knight."
Bernard Jacobson, Seattle Times
La Cenerentola (8/8/09), Glimmerglass Opera
"As Don Magnifico, Eduardo Chama was the genuine buffo article, delivering his music with great sound and comic brio, and his duet with Phares was a highlight."
Joanne Sydney Lessner, Opera News
2009 Glimmerglass Opera
"Singer Eduardo Chama channels wild man Jack Black as the money-grubbing Don Magnifico. He bounces, poses, and puffs, singing full voice with the perfect degree of ridiculous pomposity."
Brenda Tremblay, Rochester City Newspaper
Rossini: La Cenerentola; Glimmerglass
"The great basso buffo role of Don Magnifico, sung and acted to near-perfection by Eduardo Chama, proved to be one of the high points of this production. Making his initial entrance in slovenly fashion wearing pajamas, an open robe and hair that would have embarrassed even Beethoven, Chama's Magnifico proved less of a buffoon than a loveable (if not grumpy) authoritarian – along the lines, perhaps, of Ed Asner's Lou Grant character from the classic Mary Tyler Moore Show. Try as I might, I just couldn't dislike the guy – and I suspect many in the audience were relieved when his forgiving stepdaughter Angelina pardoned him at the close of the opera. After some slight pitch problems early in his signature aria 'Miei rampolli femminili', Chama went on to achieve a solid vocal presence and create a memorable character."
David Abrams, MusicalCriticism.com
A Screwball Cinderella
"... bass-baritone Eduardo Chama gave Don Magnifico a wonderful air of absurd pomposity."
Heidi Waleson, Wall Street Journal
Screwball opera: Rossini's La Cenerentola at Glimmerglass Opera
"Bass-baritone Eduardo Chama was a true tour-de-force as fatuous Don Magnifico, looking, with his perpetually unruly hair, like a manic maestro, even hilariously conducting his own exit music at one point and demanding all capital letters in his supertitle and getting them."
Wayne Myers, New York Examiner
A lively Depression-era 'Cenerentola' at Glimmerglass Opera
"Bass-baritone Eduardo Chama provided a vocally juicy and convincing portrayal of the bumptious social-climbing father, Don Magnifico, as mean-spirited as Angelina’s stepsisters. His buffo aria in which he scolded his shrill daughters for interrupting his dream of becoming a winged donkey as a sign of future prosperity, was sung with exemplary diction and perfect phrasing."
Stephen G. Landesman, Ithaca Journal
'La Cenerentola' at Glimmerglass Opera is sung beautifully
"The comic chops came from the buffoonish Eduardo Chama as Don Magnifico."
Joan Vadeboncoeur, Syracuse Post-Standard
Argentinean bass-baritone Eduardo Chama as Sancho Panza and Italian bass Ferruccio Furlanetto as Don Quixote<br />
Massenet's Don Quichotte at San Diego Opera
"Eduardo Chama's Sancho Panza, on the other hand, stood his ground next to Furlanetto's Don, capturing both the devotion and subservience of his character."
Chris Mullins, Opera Today
"Chama is solid throughout and works well here with one of the biggest stars of the operatic stage." Read More...
Out West Arts
Sancho Panza (Eduardo Chama) does some horse whispering to calm Don Quixote's steed, Rosinante, and his own donkey; edited image, based on a Cory Weaver photograph, courtesy of San Diego Opera.
Compelling Revival of Massenet's "Don Quixote" - San Diego Opera February 14, 20
"Particularly memorable was the second scene, set in the Countryside. Early into it is one of the two major comic arias for Sancho Panza, amusingly played by Eduardo Chama. His denunciation of the things men are coerced by women into doing is one of the classic comic episodes in French opera, and, after he declares L'homme est une victime, et les maris des saints, Chama received the first sustained applause of the evening."
Opera Warhorses
San Diego Opera Presents "Don Quixote"
"The opera has a plum role in the fat, comical Sancho -- and Chama squeezes all the juice out of that plum to delightful effect."
David Gregson, SanDiego.com
"Eduardo Chama, returning to Calgary after a previous appearance in The Marriage of Figaro, is entirely successful as Mephistopheles, perhaps the most completely convincingly of the main roles. Witty and clever in the dramatic side, Chama also has just the right type of voice for this "French bass" role. He has the vocal authority for the Golden Calf aria and an effective snarl when needed. He naturally draws the audience's eye, his sardonic commentary the perfect foil for the two romantic lovers." Read More...
Kenneth Delong, Calgary Herald
"His long-suffering servant Leporello is played with comedic gusto by bass-baritone Eduardo Chama." Read More...
Evans Donnell, Nashville Tennessean
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