J.S. Bach’s St. John Passion

(Divino Sospiro and Nova Era Vocal Ensemble & Andreas Scholl — Auditorio Nacional de Música, Madrid, March 2026)

Let it be said from the outset that the concert would already have been worthwhile for the magnificent performance of the Portuguese tenor Rodrigo Carreto-singing the role of the Evangelist and taking on the tenor arias (...).
(...) But let us not allow what was said earlier to overshadow the true protagonist of the recital, the tenor Rodrigo Carreto, and the audience clearly acknowledged this with the beginning of applause during the aria Ach, mein Sinn - in a Passion performance where traditionally there is no applause until the end - and with a great ovation at the close of the concert. His voice - beautiful, flexible, melodious, well-tuned, and full of nuance - was present and fully up to the task throughout the entire work. Remember that name: Rodrigo Carreto, he was magnificent.
(...)
The St John Passion turned out to be wonderful. The most applauded—and ovationed—was the tenor Rodrigo Carreto(...).

— Scherzo
09/03/2026

J.S. Bach’s St. John Passion

(Divino Sospiro and Nova Era Vocal Ensemble & Andreas Scholl — Auditorio Nacional de Música, Madrid, March 2026)

Among the soloists, the tenor Rodrigo Carreto took on the role of the Evangelist with impeccable diction and a narrative ability that sustained the tension of the story throughout the nearly two hours of music.
(...) Carreto handled it with intelligence, honesty, and a well-timbred voice.

— Platea Magazine
09/03/2026

J.S. Bach’s St. John Passion

(Divino Sospiro and Nova Era Vocal Ensemble & Andreas Scholl — Cartuja Center, Sevilla, March 2026)

Among the soloists, the tenor Rodrigo Carreto took on the role of the Evangelist with a lyrical line, clarity, and constant commitment, opting for a more contemplative than theatrical expression, in keeping with Mazzeo's vision. As if the demanding task of sustaining the narration of the story were not enough, he also undertook the two tenor arias in the work. In them he displayed exceptional musicality and refined taste(...)

— Diario de Sevilla
03/03/2026

J.S. Bach’s St. John Passion

(Divino Sospiro and Nova Era Vocal Ensemble & Andreas Scholl — Cartuja Center, Sevilla, March 2026)

The young Rodrigo Carreto certainly had to work hard as the Evangelist, displaying a very well-timbred voice and a flawless sense of style. In this way he managed to shine in his arias: the broken, restless Ach, mein Sinn and the long, beautiful and devout Erwäge, which he sang with great delicacy.

— El Correo de Andalucía
03/03/2026

G. F. Händel’s Messiah

(Oviedo Filarmonia & Alberto Míguelez Rouco — Auditorio Príncipe Filipe, Oviedo, December 2025)

The tenor, Rodrigo Carreto, displayed interesting vocal qualities and handled the coloraturas skillfully.

— La Nueva Espana
20/12/2025

W. A. Mozart’s Requiem

(Galician Symphony Orchestra & Roberto Monjas Gonzalez — Palacio de la ópera, La Coruña, October 2025)

Rodrigo Carreto proved to be a tenor with a warm emission and clear diction, very expressive — for instance in the “Mors stupebit”, with a slightly theatrical touch. His intervention in the “Domine Jesu” maintained that same line of natural brightness.

— Bachtrack
07/11/2025

H. Purcell’s The Fairy Queen

(Les Arts Florissants & Paul Agnew — Teatro de la Maestranza, Sevilla, November 2025)

Finally, the Portuguese tenor Rodrigo Carreto captivated us as a lyrical and romantic tenor, weaving songs such as See, my many colour’d fields from the fourth act.

— El Correo de Andalucia
24/11/2025

H. Purcell’s The Fairy Queen

(Les Arts Florissants & William Christie — Versailles Royal Opera, June 2024)

Rodrigo Carreto, for example, shows a lot of flexibility and agility (…) His “Autumn” is full of a lovely sensitivity.

— Premiere Loge
01/07/2024

H. Purcell’s The Fairy Queen

(Les Arts Florissants & William Christie — Versailles Royal Opera, June 2024)

(…) tenor, Rodrigo Carreto immerses himself vocally in the essence of a church choir (in fact, his résumé includes Mozart’s Requiem and several of his masses, among other religious pieces). (…) his high notes are of the utmost purity. His technique, agile and refined, shines in a lyrical head voice, as well as in a rhythm and breath control that remain steady even through the challenges of choreography.

— Olyrix
30/06/2024

H. Purcell’s The Fairy Queen

(Les Arts Florissants & William Christie — Auditorio Nacional de Musica - Madrid, January 2024)

(…) the Portuguese singer had several moments of impeccable work, with a very beautiful timbre, with brightness but roundness in the high notes, and although he is light, he has more body in his voice than his partner. He is also a singer of great elegance, with a very fluent singing, without tension. From his first solo appearance in the second act ["Come all ye songsters of the sky"], he showed his vocal ability, but also his remarkable stage presence, which was very noticeably enhanced in "When a cruel long Winter", very confident, with a very organic approach to singing and acting. "See my many colour'd fields" rounded off his solo performance, confirming the tonal beauty and evocative nature of his singing. He is one of those tenors who prefer not to exaggerate, a rarity among his peers in recent years.

— Codalario España
29/01/2024

H. Purcell’s The Fairy Queen

(Les Arts Florissants & Paul Agnew — Philharmonie de Paris, January 2024)

Rodrigo Carreto is a builder of affection, a goldsmith who never skimpes on light or length.

— OperaOnline
04/01/2024

H. Purcell’s The Fairy Queen

(Les Arts Florissants & Paul Agnew — Philharmonie de Paris, January 2024)

Rodrigo Carreto knows how to elevate his tenor voice, from vibrant power to the delicacy of an haute-contre voice.

— Classykeo
04/01/2024

J. S. Bach’s St. John Passion BWV 245

(La Banda Baroque Orchestra — Augsburg, March 2023)

The excellent soloists, especially tenor Rodrigo Carreto as the Evangelist, provided a gripping performance, but the soloists from the ranks of the Domsingknaben and their chamber choir also sang the mournful arias with wistful devotion.
(…)
Alongside the wise Rodrigo Carreto, whose contemplative aria "Erwäge, wie sein blutgefärbter Rücken" was touchingly soulful, Andreas Wolf sang the Christus recitatives and bass arias with powerful expression.

— Augsburger Allgemeine
27/03/2023

J. S. Bach’s Christmas Oratorio BWV 248

(Weinfelden, December 2022)

Wonderful evangelist: The young tenor Rodrigo Carreto.
(…)
With the Portuguese tenor Rodrigo Carreto, Manuela Eichenlaub brought a magical evangelist to Weinfelden. The young singer sang his way through the delicate secco and accompagnato recitatives with lightness of tone, elegant melting and great devotion, in which every caesura, every syllable stress was spot on.

Carreto's sensitive narration and the great filigree aria at the end "Nun mögt ihr stolzen Feinde schrecken" were simply wonderfully interpreted.

— Thurgaukultur
19/12/2022