Home > Artists > Matthew Treviño


In the current season Matthew Treviño makes his company debut as Hobson (Peter Grimes) and as Sparafucile (Rigoletto) with the English National Opera. He also performs as Colline (La bohème) for the Florentine Opera; Dr. P (The man who mistook his wife for a hat) with the Nashville Opera and as Sparafucile and Monterone (Rigoletto) with the Opera Memphis.

Last season highlights included appearances as Leporello (Don Giovanni) for Opera Colorado, Sparafucile and Monterone (Rigoletto) for the Lyric Opera Baltimore and a debut with the St. Louis Symphony (Messiah) under Christopher Warren-Green.

Matthew Treviño is a former member of San Francisco Opera's prestigious Merola Opera Program and recipient of the 'Best Singer Award' by the 2011 Austin Critics’ Table for his performance in The Man Who Mistook His Wife for a Hat.

The short biography displayed on this page is for information only. For concert programmes and promotional materials please use the downloadable versions.


"The supporting cast were also very good with Matthew Treviño’s Hobson and de Pont Davies’ Auntie being the two stand outs for me. Treviño brought considerable resonance and vocal heft to the role and there was a warmth and lovely dark timbre to his Act 1 duet with van den Heever." (Robert Beattie, Seen and Heard International, March 2014)

"Matthew Treviño is simply mesmerizing as Dr. P, delivering a thoughtful interpretation of both his character and Nyman’s compelling score." (Amy Stumpfl, The Tennessean, November 2013)

"Vocally, this was a consistently solid group. Magiera and Treviño delivered rich, powerful baritones." (Marc Shulgold, Opera News, July 2013)

"Matthew Treviño was a wicked Sparafucile, with fine low notes..." (Charles T. Downey, Washington Post, May 2013)

"Treviño fills out the robust sound of the baritone character here with a perfectly tuned polish to his voice. Doubling up later as Sparafucile, the merciless assassin, Treviño’s voice slides deeply into the bass range, providing a glorious sound for all to hear during his encounter with Rigoletto, A bold and boisterous sounding voice that repeats itself over and over in Act III when the assassin is encountered once more, first in scenes with his sister then again with Rigoletto; a superior sound if ever there was one to be heard from a bass."  (Amanda Gunther, DC Metro Theater Arts, May 2013)

"The palm, however, goes to bass Matthew Trevino as Leporello. The audience fell in love with him from the outset, and his rendition of the famous "catalog" aria will be hard to forget." (Kelly Dean Hansen, The Daily Camera, April 2013)

“Christopher Magiera's Don Giovanni and Matthew Trevino's Leporello made a classic comic duo, and delivered all of their many recitativo scenes with wonderful pacing and humor. Trevino hammed it up in the Act 2 serenading scene, and both were lively stage animals throughout the show." (Ruth Carver, The Examiner, March 2013)

"Vocally this Flute made a very positive impression, pivoting round the superbly sung Sarastro of the young Texan Matthew Treviño, a genuinely deep-sunk bass of seamless evenness throughout the register. It’s an immaculately schooled voice." (The Magic Flute - Opera Britannia, February 2012)

"For much of the 2 1/2 -hour Opera Naples production last weekend, Trevino was onstage and relishing the rake's role every minute of it. Melodic, devilishly charming and expressive, Trevino was a perfect choice for Opera Naples' — and his own — premiere of the work. His portrayal was ear and eye candy for the audience." (Naples News, January 2012)

"To my mind and ears, however, bass Matthew Treviño stole the show as Dr. P. His rich voice and embodiment of the character drew me in and didn't let go." (The Man Who Mistook his Wife for a Hat - Classically Austin)

"Matthew Treviño's creepy Commendatore made a big, impressive sound" (Don Giovanni - Opera News)

"Matthew Treviño was a sonorous and neatly malevolent Don Basilio" (Il barbiere di Siviglia - San Francisco Chronicle)

"But it was Texan bass Matthew Treviño who truly galvanized attention: his Sarastro was magnetically sung and acted, an eerily hermetic presence with an insinuatingly malevolent agenda (he manhandles Pamina creepily during one aria). Sarastro’s part goes very low musically, but Treviño’s bottom Fs were unpinched and beautifully supported, his sonorous, burnished tone and clear enunciation a source of constant pleasure." (Irish Theatre Magazine)

"Matthew Treviño offered sustained vocal dignity as Sarastro." (The Irish Independent)