Shelley Jackson
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American soprano Shelley Jackson is quickly establishing herself as a rising star on the international opera stage

The encounter with Shelley Jackson proved to be something of a revelation. In the bravura role the young American soprano, making her German debut, gave a superbly exciting performance. With brilliantly immaculate coloratura, pinpoint articulation in the passagework and fluid, perfectly even runs she proved herself a bel canto virtuoso who could also captivate with expressive tone. What is more, her musicianship is exceptionally refined, with phrasing, dynamic shading, featherlight soft singing and a range of nuance that marked her out as a singing tragedienne of the highest order.
— Anna Bolena, Rheinpfalz, 2018
Above all, she possesses a captivating, indeed bewitching soprano voice, that sounds fantastic throughout the whole range, with which she can portray poetic introspection just as well as dramatic despair.
— Manon, Das Neue Merkur, 2019
A diva is born at the Lausanne Opera: Replacing the title role of Donizetti’s Anna Bolena, soprano Shelley Jackson has all the makings of a great bel canto singer. A timbre of velvet, irreproachable high notes, ductile virtuosity, expressive phrasing, and equally a touching and captivating presence.
— Anna Bolena, Le courrier, 2019
Shelley Jackson is indeed a force to be reckoned with in this role, with a big, juicy lyric soprano that conveys wholesomeness and sensuality at the same time.
— Carmen, Bachtrack, 2017
The galvanising gleam on her tone was worthy of a prima donna.
— Mansfield Park, Opéra, 2017
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Rossini’s Petite Messe Solonelle

Shelley returns to Palermo for the summer concert series of the Teatro Massimo, at the Chiostro della Galleria d’Arte Moderna

June 29 2019


Tatyana in Eugene Onegin

Shelley makes her debut at the Buxton International Festival in a new production as Tchaikovsky’s heroine

July 6, 10, 14, 16, 19 2019


Title Role in Tosca

Shelley makes her debut as Puccini’s heroine at the Malmö Opera, in a new production by Sofia Jupither

December 20 2019 to February 16 2020


JULY 2019: Shelley wins acclaim for her debut at the Buxton International Festival as Tatyana in Eugene Onegin: “Never have I been so moved by this opera…The soprano Shelley Jackson’s Tatyana . . . wow! This is the fourth time I’ve seen Onegin but the first in which such a spellbinding, gut-wrenching, show-stopping depiction of a woman suddenly, madly, hopelessly and stupidly in love, has shaken me as this did.” (Matthew Parris’ column for The Times) “A masterclass in melancholy.. delivering in emotion and power in equal measure” (Bachtrack) “Exactly the heart a good Onegin needs.. delicate and tremulous with ardour.. rich but recognisably passionate” (The Arts Desk)

FEBRUARY 2019: Shelley’s house debut as Anna Bolena in Lausanne wins acclaim: “Anna Bolena was Shelley Jackson, whose soprano is supported by a great middle register, velvety and burnished, which explodes in fireworks of brilliant, powerful high notes. The volume of her voice was impressive and exciting, with a remarkable range of dynamics.” (Bachtrack) “She has a confident, unwavering voice over her entire range, with serious drama, a broad and stable middle, and a timbre bursting with harmonics that is reminiscent of some of her illustrious predecessors, with Leyla Gence coming to mind...” (Opera Online) ”L’Américaine Shelley Jackson ne fléchit guère dans la dernière scène – alors qu’elle a déjà chanté deux heures, se nourrissant d’un feu qui s’intensifie au fil de la représentation, capable de soutenir la ligne et d’investir les imprécations avec densité.” (Le temps)

JANUARY 2019: Shelley returns to the Salzburg Landestheater as the title role in Manon to rave reviews: “Als Manon vermittelte sie den Eindruck einer mit außergewöhnlichen Stimmmitteln begabten Sängerin, die neben expressivem Vortrag mit intensivem Spiel auch Bühnenpräsenz bietet.” (Das Opernglas) “Vor allem verfügt sie über eine berückende, ja verzaubernde Sopranstimme, die in allen Lagen phantastisch klingt, mit der sie poesievolle Verinnerlichung ebenso darstellen kann wie dramatische Verzweiflung.” (Der Neue Merkur) “In der Höhe zwischen silbrig schattiertem Piano und kraftvollen Spitzentönen changierend, setzt sie die Koloraturen treffsicher. Ihr warmes Timbre lässt sie nuancenreich strömen.” (Salzburger Nachrichten)

Maria Callas Grand Prix, Athens