BADISCHES STAATSTHEATER: ANNA BOLENA 2018
Die Rheinpfalz Pfälzer Tageblatt (Gabor Halasz) The encounter with Shelley Jackson proved to be something of a revelation. In the bravura role [of Anna Bolena] 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. She was just as convincing in Anna Bolena’s melancholy lyricism as in her desperate outbursts and, in the second act, her heroic expression of hurt pride.
Online Merker (Udo Klebes) Shelley Jackson's clear, slightly dark-toned soprano proves to be flexible at all times, despite her lush volume of voice and naturally integrated low register, for spinning elegant lyric phrases interwoven with coloratura. The fioratura never seems exaggerated, but moreover enhances the appeal of the musical design by their use. In combination with her tall, slim and attractive figure, in the appropriate robes she cuts a portrait of queenly dignity.
Badische Neueste Nachrichten In the B premiere, Shelley introduced herself as a title heroine who fulfilled all the highest hopes, and not just because vocally and visually she is reminiscent of Kathleen Cassello, unforgotten in Karlsruhe. An engaged artist with a very good technique and moreover a voice of a volume to make her the ideal partner for Ewa Plonka, who repeated her acclaimed Giovanna from the A premiere.
Forum Opéra (Catherine Jordy) Shelley Jackson imposes herself by her stage presence in Anna, which she inhabits with elegance, queenly bearing, and radiant dignity. While in worried tremors, overflowing furor or ravaging torment, the soprano comes out well of the difficulties of the role with a lot of expressiveness.
SALZBURG LANDESTHEATER: MANON 2018
Salzburger Nachrichten (Florian Oberhummer) Shelley Jackson vocally fulfils the requirements for the title role … Since her national theatre debut as Mimì a year and a half ago, the voice of the US soprano has once again evolved. Moving between a silvery piano and powerful top notes, she sets the coloratura unerringly. Her warm timbre allows her voice to flow rich in nuances.
BR Klassik (Peter Jungblut) American Shelley Jackson is vocally convincing in the title role in Salzburg.
Traunsteiner Tagblatt/ DrehPunkt Kultur (Elisabeth Aumiller) Vocally, Shelley Jackson’s Manon has earned herself laurels. With her vivid, clear soprano she revives the core structure of the music. Her strongest moments are in her emotion in the delicately sung "Je ne suis que faiblesse ... Adieu, notre petite table". In the scene of seduction, "N'est - ce plus ma main", when she succumbs to Des Grieux again, her voice elicits impressive colour and detail.
“Her voice elicits impressive colour and detail…”
DORSET OPERA: LA BOHÈME 2018
“Leading the cast is Shelley Jackson, whose refulgent soprano imprints Mimi on the audience’s collective memory.”
Bachtrack (Dominic Lowe) Shelley Jackson was a captivating Mimì, a delicate and charming presence which became deeply moving in the third act. Vocally, she showed well-integrated registers with a beguilingly full lower voice and secure top notes. It’s a nicely sized voice, but there’s a flair for nimble pianissimo which was sensibly deployed.
The Stage (George Hall) Leading the cast is Shelley Jackson, whose refulgent soprano imprints Mimi on the audience’s collective memory.
Opera Now (George Hall) Shelley Jackson’s Mimi, Paul Putnins’ Colline and Ross Ramgobin’s Schaunard were especially notable.