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PRESS / JACK SWANSON IN THE NEWS
“Tenor Tonio brings down the house with his phenomenal aria “Ah! mes amis…” Each note is fully supported and filled with emotion and his awe-inspiring nine high Cs left the audience begging for more, a wish which was promptly fulfilled in the second act. This is Swanson’s Utah debut and I hope to see him grace our stages again very soon!”
FRONT ROW REVIEWERS | JANUARY 2023
"Jack Swanson was the Count Almaviva, in a consummate performance revealing Swanson’s attractive, technically proficient vocal skill. Swanson’s superb performance deserves inclusion in the first of what I call the contemporary “Rossini royalty."
OPERA WARHORSES | AUGUST 2022
"Young tenor Jack Swanson made a dashing, charming Almaviva. His dulcet tone and clear high notes crowned by astounding agility in the role’s many florid passages."
CLASSICAL REVIEW | AUGUST 2022
"The star of the show was Jack Swanson, whose ebullient tenor and imaginative vocal ornamentation made Almaviva enormously fun."
WALL STREET JOURNAL | AUGUST 2022
"Jack Swanson is an acclaimed Almaviva. He is tasteful in “Ecco ridente,” and nothing short of spectacular in the excruciating “Cessa di più resistere,” a typical bravura aria where Swanson shows unwavering agility, easily reached high notes, in the appropriate Rossinian style."
CONCERTONET | JULY 2022
"The American tenor Jack Swanson unveils a Ferrando with expressive mimicry and a completely convinced stage play. His highs are brilliant with delicate decrescendi, piano nuances, carefully vibrated."
OLYRIX | APRIL 2022
“After having played Tamino at the Opéra national de Lorraine, Jack Swanson returns to the Grand Est region for an angelic Ferrando, beaded with light. It is the serenity of the phrase that characterizes it, just like the saving virtue and the nourishing plenitude.”
OPÉRA ONLINE | APRIL 2022
"The young Jack Swanson is an extremely seductive Fiorville, with a very sure technique, whose timbre is sometimes reminiscent of that of his illustrious predecessor and compatriot Rockwell Blake."
PREMIÈRE LOGE | AUGUST 2021
"Minnesota tenor Jack Swanson, also an absolute rookie at the ROF, offers a well-balanced interpretation of the amorous Florville, anything but bloodless, expressively incisive and vocally supported by a captivating and homogeneous timbre."
LE SALONMUSICAL | AUGUST 2021
"Jack Swanson’s immensely confident Count with endless top notes thrown off with casual ease."
THE STAGE | MAY-JULY 2021
"Swanson did not hold back on the top notes and delivered some pinging highs while enthusiastically stripped down to his unmentionables. With his confident stage presence and voice so well suited to this repertoire, Swanson is one to watch."
BACHTRACK | MAY-JULY 2021
American Tenor Jack Swanson shows why he is gaining reputation as a Rossini specialist, easily mixing his head voice and chest voice to produce rapid-fire runs and endless brilliant top notes.
CULTURE WHISPERER | MAY-JULY 2021
“During his encore of Rossini’s La danza, it was this endless ease with which his voice picks up speed, nothing wasteful, always hitting the mark, that put the audience in a jubilant mood…Swanson was confident, agile and charming”
FRANKFURTER RUNDSCHAU | OCTOBER 2020
“Jack Swanson has a remarkable voice. Spacious and silver in the chest, this tenor, despite his youth, has already played the great roles of the Italian bel canto and can bring subject matter onto the stage effortlessly with a sympathetic gesture…This singer has a great future ahead because of his technical precision, his sheer endless breath and penetrating timbre.”
FRANKFURTER ALLGEMEINE ZEITUNG | OCTOBER 2020
“Jack Swanson was everything I’ve ever wanted in a Mozartian tenor in the role of Belmonte. His heroic tone was ideal for the pining lover on a rescue mission, and his coloratura was smooth as silk. Mozart’s music can be notoriously tricky for tenors, but Swanson’s voice was made for this role. He also brought just the right touch of humor to Belmonte, a character that can sometimes come across as a bit boring. His physical comedy was at its best when paired up with Pedrillo, and his love duets with Konstanze showcased all the tenderness and passion that the audience desired.”
SCHMOPERA | FEBRUARY 2020
"Jack Swanson displays a barytoning tenor, which increases in color, shine and support, but also smoothly in inflections of phrasing. To remember that this distinguished singer was last year a Candide (de Bernstein) noticed in Marseille and at the Théâtre des Champs-Élysées is an eloquent proof of his vocal richness, of character."
OLYRIX | NOVEMBER 2019
“The most brilliant is the young American Jack Swanson, who masters the difficult role of Rodrigo as if she were a nursery rhyme. It's almost an injustice to sing like that and look so dazzling. The fact that he also gets the most out of this actually rather ungrateful role of the second lover is obvious, but still has to be mentioned again. He quite rightly collects the biggest applause for his aria in the second act.”
FESTSPIELE FORUM | SEPTEMBER 2019
"ideal bel canto voice."
“Rossini has equipped his rival Rodrigo musically equal. When the young American tenor, Jack Swanson, enters the stage for the first time in this game, one does not suspect that this inconspicuous college boy can easily take on the singer of the title role... Swanson stretches to a shape that leaves one’s mouth open. You can hear an ideal bel canto voice, smooth, perfectly focused, with an incomprehensible fluency and a silver timbre. It is hardly too high to compare him to the best in his field, such as Juan Diego Flórez, and to predict a brilliant international career.”
DER OPERNFREUND | SEPTEMBER 2019
"Jack Swanson made a great splash in the role of Rodrigo and deservedly received sustained applause at the final curtain. A tenore di grazia with a pleasing upper register, and without the reedy sound which often sounds too thin and forced, Swanson showed real quality. His voice danced its way through the part, taking leaps in his stride, and making light of the role’s high tessitura, which was beautifully displayed in the cabaletta, 'Ah! come mai non senti,' He was also attentive to characterization, making use of his vocal versatility and strength."
OPERAWIRE | SEPTEMBER 2019
“The biggest asset of the venture is the young, downright shocking, young-looking American Jack Swanson as Rodrigo, who has an even more exhausting, overall higher-lying game than the title-hero.”
FRANKFURTER RUNDSCHAU | SEPTEMBER 2019
"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
“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
"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
“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
“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
“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
“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
“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
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