OPERNHAUS ZÜRICH: ROTE LATERNE 2015
“Her voice shines like the bulb in a flashlight, searching through the drama’s overwhelming darkness.”
Tages- Anzeiger (Tom Hellat) The soprano Shelley Jackson from the International Opera Studio sings Song-Lian, clear, bright and brilliant, even herself in catastrophe. Her voice shines like the bulb in a flashlight searching through the drama’s overwhelming darkness.
Badische Zeitung/ Opernwelt (Heinz W. Koch) Jost has a relaxed relationship with melody, a kind of long arioso. The extensive part of the central fourth wife benefited the most from this: depth of feeling erupts in each intensively lived through moment. Shelley Jackson grew throughout in an impressive manner: a sizable soprano of the utmost radiance.
Opéra Magazine (Éric Pousaz) In the principal role of Song- Lian, onstage from start to finish, the young American Shelley Jackson offers a balance of exciting sureness and incredible force. Moreover, her soprano reveals itself to be solid, powerful without hardness, and her breath control is surprisingly long.
La Regione Ticino (Laureto Rodoni) The cast is excellent, over which towers the soprano Shelley Jackson, impressive protagonist both on a vocal level (the part is really all encompassing), as well as theatrical.
Oper Aktuell (Kaspar Sannemann) The protagonist fourth wife Song-Lian from the beginning becomes in the course of the hopeless situation always more expressive and complex. The soprano Shelley Jackson masters these requirements vocally and dramatically with oppressive and touching intensity. Her distinctive timbre becomes from scene to scene more self confident and dramatic, without ever straying from the sung legato line.
Opernnetz (Peter E. Rytz) The lyric soprano Shelley Jackson is simply perfect for this role. Articulating understandable text, secure in the changes in register. Desperately rebellious and crying out against the fearful dream visions and the claustrophobic ghosts, she modulates her vocal moods. Her vocal range reaches from restrained sounding descants to tremulous coloraturas.
Deutsche Bühne (Detlef Brandenburg) Shelley Jackson, young singer from the International Opera Studio in Zürich, gives Song- Lian much emphasis with her bright soprano, in the high powerfully blooming… and also moreover a flawless intonation with her character’s stage life.
Deutschlandfunk (Jörn Florian Fuchs) Shelley Jackson sings Song-Lian gorgeously and emphatically.
Der Landbote (Herbert Büttiker) With the intimate and expressive urgency of a full and supple soprano, Shelley Jackson is touching as the newly arrived fourth wife- the young Song-Lian.
Süddeutsche Zeitung (Reinhard J. Brembeck) The new one will not have it easy. Even when Shelley Jackson as Song Lian puts enchanting beauty and bewitching grace into both voice and drama.
Bayerische Rundfunk (Florian Hauser) Song-Lian, the young wife, falls apart and becomes insane in the end. An “I” sings on the stage, another in the theater’s tiers. This is skillfully done and touchingly sung. The young Shelley Jackson was the broken Song-Lian, desperate, lost, with a powerful voice. Such dense and sparse moments make this opera conflicted.
Frankfurter Allgemeine Zeitung (Jan Brachmann) Shelley Jackson scored a big impact with her lyric soprano, when in a delusional dream she sings a duet with her own recorded voice that wanders throughout the loudspeakers in the hall.
OPERNHAUS ZÜRICH: LA BOHÈME 2015
“Jackson's voice sparkled with a diamond like brilliance in Quando m'en vo”
Seen and Heard International
Jackson's voice sparkled with a diamond like brilliance in Quando m'en vo'. In Act IV, as she tells of Mimi's collapse and later offers a prayer, her singing brought a tear to the eye. (Rick Perdian)
Shelley Jackson as Musetta was the most relaxed on stage and employed her thespian skills to the full. (John Rhodes)
Bachtrack (Sarah Batschelet) Shelley Jackson's conniving Musetta was entirely lovable for her distinctive ‘chutzpah’ and her convincing acting skills – as seductress, wily operator, and finally, compassionate friend to the consumptive Mimì.
Neue Zürcher Zeitung (Thomas Schacher) The Musetta of Shelley Jackson…as the beguiling femme fatale, winning back the abandoned Marcello again in no time for herself, she definitely scores.
Tages Anzeiger/ Der Bund (Susanne Kübler) ...the young American Shelley Jackson had a strong appearance, equally believable both as the fun-loving showgirl and in prayer as Musetta.
SANTA FE OPERA: DON PASQUALE 2014
“Indeed, she exploded into the spotlight of the Santa Fe Opera last Saturday night, bringing a sparkling freshness both vocally and theatrically to a standard role of bel canto opera.”
Albuquerque Journal (D.S. Crafts) It must have been a magical night for young singer Shelley Jackson... this second-year apprentice stepped into the role of Norina opening “Don Pasquale” with barely a few days’ notice. Indeed, she exploded into the spotlight of the Santa Fe Opera last Saturday night, bringing a sparkling freshness both vocally and theatrically to a standard role of bel canto opera. Jackson is called upon to act several roles within a role – cynical slob; demure country girl; utter shrew and finally ardent lover. For her stellar performance she was justly showered with applause especially from a coterie of admirers in the gallery.
Opera Warhorses Both Jackson’s Norina and Nelson’s Malatesta were world-class performances, worthy of any operatic stage... Jackson’s unscheduled debut created a sensation with the Santa Fe Opera audience who applauded her with enthusiasm and gave her (and her colleagues) a heartfelt standing ovation. Even if Jackson sings only this opening night of the production, the impact of her Santa Fe Opera debut on her career is likely to be considerable.
Santa Fe New Mexican (James M. Keller) On opening night, the role of Norina (and therefore also Sofronia) was performed by soprano Shelley Jackson, a second-year apprentice at the company... Jackson rose to the occasion admirably and, especially after intermission, with butterflies banished, one could have imagined her in a “first cast.” Jackson has a relatively large voice for the part, but in the second half, and particularly in the closing numbers, she lightened noticeably to take on a more soubrette vocal character with agility and coloratura sparkle. Even with her earlier “big voice,” she negotiated most of Norina’s roulades with aplomb, rising through purling triplets in well-defined chromatic scales to hit on-target high C’s in her Act 1 duet with Dr. Malatesta, “Vado, corro.”
St. Louis Post Dispatch (Sarah Bryan Miller) On Tuesday, Norina was beautifully sung by a spirited, big-voiced member of the apprentice program, soprano Shelley Jackson.
Pasatiempo Jackson, a company apprentice, showed agility and coloratura sparkle on opening night.
CultureVulture (Michael Wade Simpson) In a real-life, “All About Eve,” moment, the understudy... stepped in on opening night, as well as the July 9 performance I saw. Shelley Jackson, the understudy, who has had quite a summer, is a second-year apprentice at the opera, a graduate from the Academy of Vocal Arts in Philadelphia and is headed off to the Opernhaus Zürich International Opera Studio after this. She clearly had the support of her three uncles, and projected confidence and ringing high notes. Bravo to the understudy! Bravo Shelley Jackson! May your star shine with brilliance.
Medicine Opera (Neil Kurtzman) Shelley Jackson who is one of the company’s apprentice singers ended up singing most of the Norinas in the run of Don Pasquale. She has a large and agile lyric soprano that has advanced far beyond the apprentice level. She gave as spirited a performance as Pelly’s manic direction allowed. Another comer.
“Shelley Jackson, soprano sang Je dis que rien ne m’epouvante from Carmen so completely, so enticingly, that you just make a mental note that when she does it at the Met you will be there.”
Bolshoi Theater: Competizione dell'Opera 2016 It is impossible not to pay attention to the American singer Shelley Jackson, who was singing Nedda's "Qual fiamma avea nel guardo". Her singing is beautiful, expressive, and has a lot of freedom. She also has a very good quality of voice, not a given among all. All together, it is singing as if singing is only breathing. When you listen to her you forget about all the technical difficulties and you don't wonder about how she will overcome them, you just enjoy her musicality. This is an example of the beginning edge of the masterpiece where you are just creating art and music without looking back at the technical issues- with passion, freedom, and joy. (Alexander Matusevich, Orpheus Radio, Russian State TV and Radio Center)
Opernhaus Zürich: IOS Schlusskonzert 2015 Very nice accompaniment in the Mozart pieces as well as the Jewel Aria of Marguerite. This was wonderfully sung by Shelley Jackson with moving voice and personal charm. The young American has already proved herself in her courageous jump-in for the premiere of Christian Jost's "Red Lantern". Everything about this singer seems natural; the movements developed from the musical narrative and did not seem placed. As Adina (L'elisir d'amore) she shone with voice and charm... (John H. Mueller, Der Neue Merker)
Puccini Foundation Competition Finals 2014 I would like to hear more of soprano Shelley Jackson, whose "Tu, che di gel" showed off a good grasp of Puccini style and a vocal with a distinctive profile. (Brian Kellow, Opera News)
Santa Fe Opera Apprentice Scenes 2013 The final scene of the evening, from Act I of Verdi’s FALSTAFF, was utterly delightful and was a vehicle (if that can be said of an opera which is truly an ensemble work) for soprano Shelley Jackson, who provided the most polished performance of the entire concert. As “Alice Ford” (made up to resemble Lucille Ball in I LOVE LUCY) she radiated star quality and sang exquisitely. (Jonathan Pell, Dallas Opera Blog)
Giargiari Bel Canto Competition 2013 Shelley Jackson, soprano (2nd yr.) sang Je dis que rien ne m’epouvante from Carmen so completely, so enticingly, that you just make a mental note that when she does it at the Met you will be there. (Operaworld Alternatetakes2)