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Mr. Swanson is represented by Columbia Artists Management Inc. (US) and Harrison Parrott (EU).

© 2019 Jennie Moser. Designed by Jennie Moser Design. All rights reserved.

PRESS

PRESS

PRESS

JACK SWANSON IN THE NEWS

“Jack Swanson (Lindoro) can be added to the short list of top tier Rossini tenors. His brilliant, focused lyric instrument has a captivating color, and his effortless execution of endless racing melismas was jaw dropping in its elan and artistry."

PRESS / JACK SWANSON IN THE NEWS

"ENCHANTING PIANI."

"In Sam Kaplan and Rose Maurrant finally, we discover two most promising American singers.  Suave timbre, easy treble, enchanting piani, not to mention a young physique, Jack Swanson is nothing less than perfect in the role of the young lover."

RESMUSICA | MAY 2019

"BEST SINGLE NOTE."

“Taking the evening's purely vocal honors was tenor Jack Swanson, as Alfredo, who has won Rosalinda's heart by the sound of his voice... Swanson followed with a ringing sustained tenor high C — the evening's best single note.”

PALM BEACH DAILY NEWS | MARCH 2019

"STEADY & BOLD."

"When Nemorino (Jack Swanson), a keen and shy student, starts singing out his love to lecturer Adina, I get so excited that, like him, he does not notice that classmates make fun of him behind his back. Swanson has so steady and bold a voice that he could melt a stone."

SCENEKUNST | NOVEMBER 2018

"STRONG INSTRUMENT."

“Tenor Jack Swanson, who had a good deal of fun with his Mario Bros.-style accent as Alfredo, revealed a voice with potential to thrill in the right opera; he has a strong instrument as is, and it would be good to hear him in a lyric role.”

PALM BEACH ARTS PAPER | MARCH 2019

"CLEAR & LYRICAL."

“Among the initiated soloists it is Jack Swanson who carries much of the musical with his clear and lyrical tenor.

AFTENPOSTEN | NOVEMBER 2018

"DIRECTE ET PUISSANTE."

"Du côté masculin de la distribution, le Candide de Jack Swanson impose sa présence scénique et sa ligne de chant parfaite, directe et puissante. L’autre composante nécessaire au fonctionnement d’un couple rayonnant."

DESTIMED | OCTOBER 2018

"TOUT EST RÉUNI."

 "Candide est parfaitement assuré par le jeune ténor américain Jack Swanson. Physique, mimiques, diction, timbre, expression, émotion : tout est réuni. Les couleurs qu’il sait donner à ses mélopées, lancinantes, sont celles des grands espaces américains. Une lumière de crooner se lève depuis le socle de son baryton."

OLYRIX | OCTOBER 2018

"D'INFINIE DOUCEUR."

"Dans le rôle-titre, le jeune ténor étasunien Jack Swanson s’avère en mesure de traduire toute la poésie mélancolique du héros voltairien, de son timbre suave mais capable autant de puissance que d’infinie douceur."

OPERA ONLINE | OCTOBER 2018

"ELAN & ARTISTRY."

“Jack Swanson (Lindoro) can be added to the short list of top tier Rossini tenors. His brilliant, focused lyric instrument has a captivating color, and his effortless execution of endless racing melismas was jaw dropping in its elan and artistry. Mr. Swanson is enthralling not only for his assured, stylish vocalizing but also for his amiable, boyishly handsome stage presence. He brought the house down with his first aria, capturing our hearts, and then came back for the rest of us with a wonderfully detailed interpretation. Watch this talented young man’s star rise rapidly in coming months.”

OPERA TODAY | AUGUST 2018

"ROCK SOLID, SPITFIRE."

“Jack Swanson was a sweet, earnest Lindoro, sporting a light and lovely, high-flying tenor, rock solid in rhythm, spitfire in patter, and unfazed in the face of relentless coloratura. If I am not mistaken, that was a high C he interpolated into his aria “Ah come il cor di giubilo.” He is the real deal for a Rossini role such as this, and I don’t doubt that opera-lovers will be hearing more of him.”

SANTA FE NEW MEXICAN | JULY 2018

"CHARMING

‚Äč

& ENERGETIC."

“Portrayed by former Santa Fe Opera (SFO) apprentice Jack Swanson, Lindoro sings of Isabella in "Languir per una bella" ("Longing for a Beauty"). Swanson, who was an admirable Candide at Los Angeles Opera, showed an amazing ability to sing Rossini's coloratura runs while maintaining understandable diction. His character was a credible young gentlemen, charming and energetic. Musically, he sang with pastel tenor colors and never missed so much as a grace note.”

BROADWAY WORLD | AUGUST 2018

"SPECTACULAR BRAVADO."

“Tenor Jack Swanson took the stage with boisterous enthusiasm for “Ah! Mes amis” from Donizetti’s La fille du régiment, tossing off the infamous nine high Cs with spectacular bravado..... Swanson’s tenor impressed again in the heroic “Cujus animam,” soaring on the many A-flats before hitting a high D-flat in the closing cadenza.”

WASHINGTON CLASSICAL REVIEW | MAY 2018

"PERFECT FOR THE PART."

"...the beautiful music of the eponymous hero sounds best when sung by an accomplished lyric tenor. LA Opera has both for this thoroughly delightful show: winsome tenor Jack Swanson, who is perfect for the part, charming and guileless in appearance.”

OPERA WEST | FEBRUARY 2018

"STRONG SOLOS."

“But the focus of this delightful operatic romp sits on the able shoulders and lovely tenor of Jack Swanson in the titular role of Candide. Swanson brings the naivety and charm of a young, out-of-place, illegitimate raised by royalty, the Baron and Baroness of Westphalia. His strong solos include “It Must Be So,” “Candide’s Lament,” and “Nothing More Than This.”

BROADWAY WORLD | JANUARY 2018

"LUSCIOUSLY SWEET."

“Swanson possessed that elusive feature that many otherwise good tenors lack, those lusciously sweet, strong high notes.”

THE OPERA CRITIC | JANUARY 2018

"SOLID ACTING & STRONG SINGING."

"Jack Swanson’s Candide anchored the production through solid acting and strong singing..."

SEEN & HEARD INTERNATIONAL | FEBRUARY 2018

"knee-weakening."

“Tenor Jack Swanson proves himself a talent to watch as Almaviva, with a ringing upper register and a knee-weakening lyric sense.”

THE STAGE | OCTOBER 2017

"BEAUTIFULLY REFINED."

"Tenor Jack Swanson produced a beautifully refined tone, along with clear diction and rhythm. The second section, Te ergo, had an extended expressively sung tenor solo accompanied by solo violin."

TEXAS CLASSICAL REVIEW | MARCH 2017