Antonio Torralba, El Día de Córdoba
Baritone Javier Povedano was outstanding: a resonant voice, musicality, mastery, style… In admirable synergy with the orchestra, he delivered a superb rendition of the aria Großer Herr, o starker König and brought distinction to all his numbers.
José Antonio Cantón, Codalario
Along these lines, special mention should be made of the young baritone from Córdoba, Javier Povedano, in the role of Baldaquín, Hernando’s servant. His balance of acting and singing stood out within the cast with a high degree of effective assurance.
Alberto González Lapuente, ABC
Javier Povedano displayed vocal prowess in his performance as Parpagnacco, powerful, determined and very nuanced after overcoming the initial fear. The Act II aria, “Se vi guardo ben bene nel volto,” was excellent and a showcase of his abilities.
Manuel Pedregosa, Diario Córdoba
Javier Povedano, who in his shifting role (Peter, Pilate, Judas…) knew how to give soul to each of the characters, with a beautiful voice full of depth and truth in expression, and who will surely bring us great joy in the future.
Arturo Reverte, Beckmesser
The best voice of the three, on the path to undeniable professionalism, is that of the Córdoba-born baritone—more baritone than bass—Javier Povedano. He has timbre, sings with confidence, although his diction is average, and his voice is endowed with an attractive duskiness (...).
José Luis López, Mundoclásico
Javier Povedano possesses a privileged voice, rich in dynamic and timbral registers. Master of phrasing to unsuspected limits, everything he did in this recital came out completely naturally, as if he were not making any effort at all (...).
Andrés Moreno Mengíbar, Diario de Sevilla
The villain of the story, King Sancho IV “El Bravo,” was portrayed by a dazzling Javier Povedano. The role and the score seem made for him and his courtly, round, powerful voice, which fills the hall like a wave of sound. With that noble phrasing, that way of sustaining lines and emphasizing accents with innate dramatic intent. In the romanza praising Seville, “Ô doux berceau de mon enfance,” he luxuriated in elegantly connected phrasing, full of nuances.
Leonardo Mattana Ereño, Bachtrack
Javier Povedano had to tackle a demanding role for his baritone voice, given the ornamentation, the changes of register, and some high notes. He also performed very nobly, with touches of genuine comic timing as in the scene where he pretends to be a judge, while vocally, despite some timbral harshness, he sounded convincing, with steady projection, resonant in the lower register and clear in the higher one.
