Shelley Jackson
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“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.”

-Online Merker (Udo Klebes)




“A timbre of velvet, irreproachable high notes, ductile virtuosity, expressive phrasing, and equally a touching and captivating presence…”

Le Courrier (Marie Alix Pleines) “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: the American soprano Shelley Jackson, laureate in 2017 of the 40th International Maria Callas Grand Prix, to the greatest delight of the public the premiere of Anna Bolena Sunday at the Lausanne Opera, spread the wings of a unique talent. A talent all the more remarkable as the bel canto score composed in 1830 by Gaetano Donizetti, on a libretto by Felice Romani, devoted to the first part of a historical trilogy on the royal house of the Tudors, is just as formidable vocally as it is orchestrally sumptuous.

Opera Magazine (Nicolas Blanmont) The cast was dominated by the superb Anna of Shelley Jackson, who was replacing… at short notice. The American soprano had made a strong impression in the role in Karlsruhe last year and she again proved memorable: her voice was rich and rounded across its range and her breath control, coloratura and phrasing were exemplary. Her dazzling vocal performance was matched by powerful acting, and there were moments where she resembled a dark haired Princess Diana. A high point of the evening was her scene with the excellent Giovanna of Ketevan Kemoklidze.

Bachtrack (Laura Servidei) 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…Her acting was remarkable; she managed to express all the different facets of Anna’s personality: the humiliated queen, the abused, terrified wife, the tender lover, the magnanimous ruler who forgives her rival Jane Seymour.

Opéra (Patrice Henriot) Shelley Jackson, laureate of the "International Maria Callas Grand Prix" of Athens, in 2017, had just sung Anna Bolena in Karlsruhe.. With a beautiful appearance, and dignified gestures, the American soprano extends the famous portrait of the sovereign.. As injustice unfolds around the imprudent queen, Shelley Jackson's voice brightens to reach authority and light in the final scenes, where the sometimes guttural medium and low of the first act give way without any doubt to the most aerial ecstasy.

Opera Online (Emmanuel Andrieu) Replacing…, originally planned, the American soprano Shelley Jackson is a very beautiful discovery in the title role, which she has already performed at the Karlsruhe Opera. She has a confident, homogeneous voice over the entire range, with a dramatic low, a sufficiently large and stable medium voice, and a timbre bursting with harmonics that is reminiscent of some of her illustrious predecessors, Leyla Gencer coming to mind ... And if the high is sometimes a little short (but nevertheless accurate and powerful), the vocalization is particularly precise and the colorations varied. In this respect, the extraordinary final scene - one of the highest summits of all musical romanticism - is particularly successful, with an elegant and moving "Al dolce guidami" and an equally impressive "Coppia iniqua".

Le Temps (Julian Sykes) The music is of great beauty, long melodies of infinite suppleness and tearful accents that require a power of incarnation that is not given to all. The American Shelley Jackson hardly wavered in the final scene - even though she had already sung two hours, feeding on a fire that intensifies throughout the performance, able to support the line and invest maledictions with weight. The bottom of the voice may be a bit guttural, but this is a singer with a large range and roundness of an ideal timbre - without artifice moreover - for the role. Claiming a lyrical vein with tragic aplomb, the title role possesses extraordinary means.

Crescendo Magazine (Paul-André Demierre) her timbre first reveals a stony color that becomes much clearer after the first scene; the technique of breath, well mastered, allows her to support the long vocalized 'passaggi' and the 'coloratura drammatica' of the ultimate cabaletta 'Coppia iniqua'. Her character has a real theatrical dimension, demonstrated by the noble restraint that she carries to a finale where her expression gives rise to a palpable emotion.

Analase (François Cavaillès) …the Introduzione already reveals a powerful Anna in Shelley Jackson, capable of sparkling ornaments at the first cabaletta. In the delirious musical atmosphere around the title role, the young North American has the lion's share of the opera. Let's hope that this ample Anna Bolena marks the beginning of international celebrity, as for the composer Donizetti.

ConcertoNet (Claudio Poloni) The cast is particularly young, which is in itself a feat for a bel canto work famous for its difficulties. Replacing the singer originally planned in the title role at a moment's notice, Shelley Jackson has the proud bearing and noble look that suits her character. The American soprano embodies a perfectly credible sovereign, draped in her dignity, which ends up being absolutely overwhelming in the final scene, before climbing onto the scaffold.

Tribune de Genève Corresponding to the sartorial extravagances are the incredible vocal flourishes that Donizetti imposes on the soloists. The cast does justice to this shimmering bel canto that already prefigures Verdi. The powerful voice of Shelley Jackson gains in elasticity and seduction along the way to give Anna's destiny a heartbreaking dignity.

24 Heures (Rene Reymond) Shelly Jackson was a sublime and touching Anna Bolena, especially in the incredibly demanding final 30 minutes.

La Libre Belgique (Nicolas Blanmont) the evening benefits from an excellent cast, dominated by the sumptuous Anna of Shelley Jackson.



“We were treated to a masterclass of melancholy by superb American soprano Shelley Jackson in the role of Tatyana…”

The Times (Matthew Parris) Never have I been so moved by this opera and, though my partner is on the festival board, I can write this, now that the first reviewer I’ve read has been blown away too. 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.

Bachtrack (Robert Gainer) I was captivated by the portrayals of Tatyana and Olga by Shelley Jackson and Angharad Lyddon respectively.. In contrast we were treated to a masterclass of melancholy by superb American soprano Shelley Jackson in the role of Tatyana. The first act of Onegin is something of an endurance test for a soprano in this role, but Jackson was up to it, never faltering and delivering in emotion and power in equal measure. She held my complete attention throughout. Nor did she overdo it, saving her very best for the final scene where she really staked her claim as the star of the show. Both of these singers have been accruing accolades recently, with Lyddon being a finalist in the 2019 Cardiff Singer of the World competition, and Jackson runner up in the Maria Callas International Grand Prix in 2017. It is easy to hear why.

The Arts Desk (Richard Bratby) Jackson’s Tatyana provides exactly the heart a good Onegin needs; her voice delicate and then tremulous with ardour in the Letter Scene, and rich but recognisably passionate in her final confrontation with Onegin.

British Theatre Guide (Colin Davison) The composer loved his heroine and this is really Tatyana’s gig, with Buxton happily importing rising star Shelley Jackson for the role. Hers is a big voice, commanding across the range, but one that throbs with tenderness and, with a strong dramatic personality, she seems set for a major career.

Anaclase (Hervé König) The North American soprano Shelley Jackson, distinguished at the Maria Callas International Competition 2017, offers a very unctuous soprano as Tatyana, whose melancholy, desire and disappointment she brings a high degree of sensibility. The flexibility with which she leads the vocal line is a true pleasure.

OperaWire (Alan Neilson) Tatyana was played by the young American soprano, Shelley Jackson, who is currently building a strong reputation for herself on the international stage. She gave a dramatically intense presentation, which captured the inner conflicts of Tatyana’s struggle between her emotional drives, her moral decency and loyalty towards her husband. She possesses a well supported voice, which blooms brightly in the upper register, but to which she is able to add depth through subtle coloring.

The Oxford Times (Christopher Gray) Buxton’s opera programme began with a fine home-grown production (under conductor Adrian Kelly) of Tchaikovsky’s Eugene Onegin, notable for an affecting Tatyana from Shelley Jackson.

Classical Music Daily (Mike Wheeler) Shelley Jackson catches exactly the restlessness of someone caught between romantic dreams and maturity… she rises to the emotional crises of the Letter Scene, and her final meeting with Onegin, magnificently.

Derbyshire Times (Mavis Kirkham) Shelley Jackson’s powerful soprano fitted well the heroine Tatyana as the passionate girl who is rejected by Onegin and as the mature and loving matron who rejects him at the end of the opera.

Notes from Middle England (Chris Ramsden) American soprano Shelley Jackson brought the house down in the taxing letter scene, her voice powerful, precise and flexible. 


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.
— Rheinpfalz (Gabor Halasz)

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. 


“Her voice elicits impressive colour and detail…”


Das Opernglas (W. Kutzschbach) Responsible for this was above all the young US-American Shelley Jackson, a soprano who was discovered last season not only in her role debut as "Bohème" Mimi, but also at the Badisches Staatstheater with the title role of Donizetti's "Anna Bolena" she celebrated a successful German debut. As Manon, she conveyed the impression of a singer gifted with extraordinary vocal resources, who offers stage presence alongside an expressive performance with intense acting. A rich tone, solid technique and tremendous sensibility all allowed the significant shadings and valid intentions of Massenet's Manon to be brought out… in return "Voyons, Manon” rich with colors and "Adieu, notre petite table" with subtle tone quality become all the better, and even in extreme scaling back of the voice the sound and pronunciation are always clear. Like most of the singers trained in the United States, she threw herself fully into the role with acting and facial expressions. 

Der Neue Merkur (Gottfried Kranz Kasparek) At the beginning she plays a young girl who is curious and full of the zest for life, in whose suitcase the customs officers already find a suspicious white sack. In the wondrous farewell to her sweetheart and the little table she can be touching, as a dazzling salon lady of the drug scene she shines with coloratura, in the church she becomes a glistening seductress. Above all, she possesses a captivating, indeed enthralling soprano voice, that sounds fantastic in all situations, with which she can portray poetic introspection just as well as dramatic despair. That this joins to a perfect vocal technique, should lead to a great career.

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.


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“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.


"Shelley Jackson's big, shining soprano meant that Mary Crawford swept all before her..."

-Classical Source (Peter Reed)




The galvanising gleam on her tone was worthy of a prima donna.
— Opéra Magazine (Yehuda Shapiro)

The Stage (George Hall) ...she is inevitably upstaged by the soprano glamour of Shelley Jackson's Mary Crawford.

The Telegraph (Rupert Christiansen) Among a cast of mostly young singers I would single out Martha Jones's Fanny, Henry Neill's Edmund, and Shelley Jackson's Mary Crawford.

Classical Source (Peter Reed) Shelley Jackson's big, shining soprano meant that Mary Crawford swept all before her...

Opera Today (Claire Seymour) Shelley Jackson's big, forceful soprano was the perfect conduit for Mary Crawford's self-confidence and thrill-seeking...

Planet Hugill (Robert Hugill) Here Nick Pritchard and Shelley Jackson were all charm...with Jackson a captivating Mary, building on the novel's use of Mary's voice as an instrument of seduction... Yet Pritchard and Jackson made us love these characters, and wonder what was going to happen to them.

Mark Aspen As the confident anti-heroine Mary, Shelley Jackson excels. Her coloratura soprano singing savours the sensuality of the part, emphasising the notion of the serpentine path, as she holds and colours what "s-s-s-serpentine" with a wicked glint in her eye.



“Above all Shelley Jackson, gifted with a profound dramatic sense, as Mimì...”

Tiroler Tageszeitung Jackson's clear and slightly dark soprano fits perfectly with the drawn Mimi.

Kurier (Helmut Christian Mayer) The ensemble is of high quality: Shelley Jackson's Mimì is sensitive, nuanced, and touching.

Bayerischer Rundfunk (Peter Jungblut) With the soloists the Salzburg Landestheater was very lucky this time: soprano Shelley Jackson from Baltimore convinced as a consumptive Mimì... A deserved success for the Landestheater.

Süddeutsche Zeitung (Rita Argauer) And he does many things well. As also does the extremely sensitive ensemble, above all Shelley Jackson, gifted with a profound dramatic sense, as Mimì...

Kronen Zeitung (Hans Langwallner) Shelley Jackson beautifully produced very fine lines and deep-drawn feelings!

Salzburg Wochen Spiegel (Veronika Zangl) Luciano Ganci and Shelley Jackson are enchanting as Rodolfo and Mimì. They dominate the stage with their wonderful voices. Empathic and nuanced, they give the arias and duets a special touch. For the lyrical-sentimental part of the opera, the focus is on both the vocal and acting, at which both excel.

Der Neue Merkur (Markus Thiel) For the company tour in its own city the house had excellent forces... Shelley Jackson (Mimì) with her distinctive dark, easily appealing soprano is more lyric...

DrehPunktKultur (Reinhard Kreichbaum) Shelley Jackson as Mimi is carved from a very different wood, she can rely on much more restraint in the orchestra pit and stands in the differentiated design far above her partner... It is mainly the Mimi scenes, in which also the filigree of the instrumentation comes out well.

The Operatic Musicologist (Daniel Url) The Role of Mimì was performed by Shelley Jackson who gave a marvelous and really touching performance. She has the ideal voice for that role with a warm lyrical voice that has a soft flexible timbre throughout all the registers... she convinced me from the very first moment.


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“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.”

The Times (Rebecca Franks) Dressed like a Madonna in soft blue, Shelley Jackson sings with moving tenderness as she woos Don José. 

Bachtrack (Katherine Cooper) The energy and commitment of the young cast is irresistible, and all four principals come to their roles having seemingly thrown away the rule-book in the best sense of the expression... she clearly regards Micaëla as a credible rival rather than a pushover. 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. She's feisty enough to pull a blade on the cat-calling soldiers when she first appears, and her love-duet with Jose has only slightly less sexual charge than his later interactions with Carmen.

MusicOMH (Sam Smith) Shelley Jackson as Micaëla sings 'Je dis que rien ne m'épouvante' exquisitely.

The Stage (George Hall) American soprano Shelley Jackson's Micaela is strong willed and individual- a necessary makeweight to Carmen in the dramatic scheme.

Opera Today (Robert Hugill) Shelley Jackson made a warmly expressive Micaela... in Act Three Jackson really brought out Micaela's hidden reserves of strength.


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“The two Italian singers (tenor Galeano Salas and soprano Shelley Jackson) were more hilarious than usual.”

Opera Warhorses The Italian Singer duets were nicely performed by Virginia soprano Shelley Jackson and Texas tenor (and Santa Fe Apprentice Artist) Galeano Salas. Both take part along with the six principal artists in the first two of “Capriccio’s” three comic octets, which are among Strauss’ most inventive operatic ensembles. I was fortunate to have reviewed Jackson’s unexpected debut as a Santa Fe Opera principal artist, starring as Norina in the first night of a new production. Currently part of Zurich Oper’s international young artists’ program, her success as Santa Fe Opera’s Norina demonstrated how deep the talent is within opera’s young artists programs. 

Bachtrack (Maria Nockin) Shelley Jackson and apprentice tenor Galeano Salas sang the parts of the Italian singers with emotions I’m sure they remember from auditioning for this summer job. They were young and cute. Best of all they have luscious voices that I want to hear again. 

Musical Toronto (Joseph So) The two Italian singers (tenor Galeano Salas and soprano Shelley Jackson) were more hilarious than usual. 

Theater Jones (Gregory Sullivan Isaacs) Soprano Shelley Jackson and tenor Galeano Salas are wonderfully wacky as the pair who, after their brief concert, help themselves to the refreshments. Jackson hits the spirits while Salas inhales the cake. 

Santa Fe Reporter (John Stage) Shelley Jackson and apprentice Galeano Salas exude charm and petulance as the Italian singers. 

Opera Today (James Sohre) Galeano Salas and Shelly Jackson made notable contributions as the Italian Singers 

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.
— Opéra Magazine (Éric Pousaz)



“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.



“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.



“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)



Es geschieht aber vor allem, weil die Begegnung mit Shelley Jackson einer Entdeckung gleichkam. In der Bravourrolle wartete die junge amerikanische Sängerin bei ihrem Deutschland-Debüt mit einer spannenden Glanzleistung auf.

Die Rheinpfalz Pfälzer Tageblatt (Gabor Halasz) Dass der Bericht mit der Darstellerin der Anna beginnt, ist der Titelpartie sozusagen protokollarisch geschuldet. Es geschieht aber vor allem, weil die Begegnung mit Shelley Jackson einer Entdeckung gleichkam. In der Bravourrolle wartete die junge amerikanische Sängerin bei ihrem Deutschland-Debüt mit einer spannenden Glanzleistung auf. Mit brillanten, blitzsauberen Koloraturen, gestochen klarer Artikulation im Passagenwerk und geschmeidigen, perfekt ausgeglichenen Läufen profilierte sich Jackson als Virtuosin des Belcantostils und nahm überdies sehr für sich ein durch beseelte Soprantöne. Ein weiteres Kapitel bildete die außerordentlich verfeinerte Musikalität der Sängerin. Ihre Phrasierungskünste, dynamischen Abstufungen, hauchzarten Pianotöne und Zwischenfarben wiesen sie als singende Tragödin von hohem künstlerischem Rang aus. Anna Bolenas abendfüllendes Lamento und unendlich melancholische Lyrismen wirkten diesmal ebenso glaubhaft wie ihre verzweifelten Ausbrüche und im zweiten Akt die heroischen Akzente verletzten Stolzes.

Badische Neueste Nachrichten In der B-Premiere stellte sich mit Shelley Jackson eine Titelheldin vor, die zu den schönsten Hoffnungen berechtigt, und dies nicht nur weil sie stimmlich und optisch an die in Karlsruhe unvergessene Kathleen Cassello erinnert. Eine engagierte Gestalterin mit sehr guter Technik und zudem einem Stimmvolumen, das sie zur idealen Partnerin für Ewa Plonka machte, die ihre umjubelte Giovanna aus der A-Premiere wiederholte.

Online Merker (Udo Klebes) Shelley Jacksons klarer, leicht dunkel getönter Sopran erweist sich trotz üppigen Stimmvolumens mit natürlich eingebundenen Tiefen als jederzeit flexibel für das Spinnen feiner lyrischer und mit Koloratur durchsetzter Phasen. Die Fiorituren wirken nie exaltiert und erhöhen unter Nutzung der eigenen Möglichkeiten noch den Reiz der musikalischen Ausgestaltung. In Verbindung mit ihrer großen schlanken und attraktiven Gestalt rundet sich Portrait in entsprechenden Roben zu königlicher Würde.



Un timbre de velours, des aigus irréprochables, une virtuosité ductile, un phrasé expressif, de même qu’une présence émouvante et envoûtante…a déployé, pour le plus grand plaisir du public de la première d’Anna Bolena dimanche à l’Opéra de Lausanne, les ailes d’un talent unique.

Le Courrier (Marie Alix Pleines) Une diva est née à l’opéra de Lausanne: Remplaçante dans le rôle-titre de l’Anna Bolena de Donizetti, la soprano Shelley Jackson a tout d’une grande belcantiste. Un timbre de velours, des aigus irréprochables, une virtuosité ductile, un phrasé expressif, de même qu’une présence émouvante et envoûtante: la soprano étasunienne Shelley Jackson, lauréate en 2017 du 40e Grand Prix international Maria Callas, a déployé, pour le plus grand plaisir du public de la première d’Anna Bolena dimanche à l’Opéra de Lausanne, les ailes d’un talent unique.

Le Temps (Julian Sykes) La musique est d’une grande beauté, longues mélopées d’une souplesse infinie et accents éplorés qui exigent une puissance d’incarnation qui n’est pas donnée à tous. 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 fond de la voix a beau être un peu guttural, c’est une cantatrice dotée d’une large tessiture et à la rondeur de timbre idéale – sans artifices de surcroît ­ – pour le rôle. Réclamant une veine lyrique comme un aplomb tragique, le rôle titre suppose des moyens hors normes. 

Opera Online (Emmanuel Andrieu) Remplaçant Maria Grazia Schiavo, initialement prévue, la soprano américaine Shelley Jackson est une bien belle découverte dans le rôle-titre, qu’elle a déjà cependant interprété à l’Opéra de Karlsruhe [et au festival de Buxton]. La cantatrice possède une voix assurée, homogène sur toute la tessiture, avec un grave dramatique, un médium stable et suffisamment large, et un timbre gorgé d’harmoniques qui n’est pas sans rappeler quelques-unes de ses illustres devancières, Leyla Gencer en tête... Et si l’aigu est parfois un peu court (mais néanmoins juste et puissant), la vocalisation est particulièrement précise et les colorations variées. A cet égard, l’extraordinaire scène finale - l’un des plus hauts sommets de tout le romantisme musical - est particulièrement réussie, avec un « Al dolce guidami » élégiaque et émouvant, et un « Coppia iniqua » tout aussi impressionnant.

Opéra (Patrice Henriot) Shelley Jackson, laureate de l’ « International Maria Callas Grand Prix » d’Athènes, en 2017, venait d’incarner Anna Bolena à Karlsruhe, quand Maria Graziano Schiavo, initialement annoncé, a annulé. Belle allure, dignité du geste, la soprano américaine prolonge le célèbre portrait de la souveraine, conservé à Londres (National Portrait Gallery) qui forme le rideau de scène : le rang de perles et le pendentif porteur d’un B (de corail?) semblent tracer au bourreau le destin de la suppliciée. À mesure que l’injustice s’accomplit autour de la reine imprudente, la voix de Shelley Jackson c’éclaire pour atteindre autorité et lumière dans les dernières scènes, ou la médium et le grave parfois gutturaux du premier acte font place sans contestation possible à la plus aérienne extase. 

Crescendo Magazine (Paul-André Demierre) ..Shelley Jackson qui a déjà chanté le rôle d’Anna Bolena à Karlsruhe. Le timbre révèle d’abord un coloris rocailleux qui devient beaucoup plus limpide après le premier tableau ; la technique de souffle, bien maîtrisée, lui permet de soutenir les longs ‘passaggi’ vocalisés et la ‘coloratura drammatica’ de l’ultime cabaletta « Coppia iniqua ». Et le personnage a une réelle dimension théâtrale par la noble retenue qu’elle lui prête jusqu’à un finale où son expression fait naître une émotion palpable. 

Analase (François Cavaillès) …l'Introduzione révèle déjà une puissante Anna en Shelley Jackson, capable d'étincelants ornements à la première cabalette. Dans l'atmosphère musicale délirante autour du rôle-titre, la jeune Nord-américaine se taille la part du lion. Souhaitons-lui que cette plantureuse Anna Bolena marque le début de la célébrité internationale comme pour le compositeur Donizetti en 1830, année de la création de l'opéra à Milan, mais aussi de la première parisienne.

ConcertoNet (Claudio Poloni) La distribution vocale est particulièrement jeune, ce qui est en soi un exploit pour un ouvrage belcantiste réputé pour ses difficultés. Remplaçant pratiquement au pied levé la chanteuse initialement prévue dans le rôle-titre, Shelley Jackson a le port altier et l’allure noble qui sied à son personnage. La soprano américaine incarne une souveraine parfaitement crédible, drapée dans sa dignité, qui finit par se révéler absolument bouleversante dans la scène finale, avant de monter sur l’échafaud.

Tribune de Genève Aux extravagances vestimentaires correspondent les invraisemblables fioritures vocales que Donizetti impose aux solistes. La distribution rend assez bien justice à ce bel canto chatoyant qui préfigure déjà Verdi. La voix puissante de Shelley Jackson gagne en élasticité et en séduction en cours de route pour donner au destin d’Anna une dignité bouleversante

24 Heures (Rene Reymond) Shelly Jackson en Anna Bolena fut sublime et touchante, particulièrement dans les 30 dernières minutes incroyablement exigeantes.

La Libre Belgique (Nicolas Blanmont) la soirée bénéficie d’une très belle distribution, dominée par l’Anna somptueuse de Shelley Jackson..



In der Höhe zwischen silbrig schattiertem Piano und kraftvollen Spitzentönen changierend, setzt sie die Koloraturen treffsicher. Ihr warmes Timbre lässt sie nuancenreich strömen.

Das Opernglas (W. Kutzschbach) Verantwortlich dafür war vor allem die nun auch in Europa entdeckte junge US- Amerikanerin Shelley Jackson, eine Sopranistin, die in der vergangenen Spielzeit nicht nur hier ihr Rollendebüt als „Bohème“ Mimi, sondern am Badischen Staatstheater mit der Titelrolle von Donizettis „Anna Bolena“ auch ein erfolgreiches Deutschlanddebüt gefeiert hatte. Als Manon vermittelte sie den Eindruck einer mit außergewöhnlichen Stimmmitteln begabten Sängerin, die neben expressivem Vortrag mit intensivem Spiel auch Bühnenpräsenz bietet. Eine füllige Tongebung, solide Technik und enorme Sensibilität ließen die gerade bei Massenets Manon wichtigen Schattierungen und Vorhaben zur Geltung kommen…Dafür gelangen „Voyons, Manon“ mit farbenreicher und „Adieu, notre petite table“ mit subtiler Tongebung umso besser, und trotzt äußerster Zurücknahme der Stimme blieben Klang und Vortrag immer deutlich. Wie die meisten der in den Vereinigten Staaten ausgebildeten Sänger brachte sie sich mit Spiel und Mimik voll in die Rolle ein. 

Der Neue Merkur (Gottfried Franz Kasparek) Am Anfang spielt sie eine neugieriges Mädel voller Lebenslust, in deren Koffer die Zöllner schon ein verdächtiges weißes Säckchen finden. Im wundersamen Abschied von Liebsten und vom Tischchen kann sie berühren, als schillernde Salondame der Drogenszene mit Koloraturen glänzen, in der Kirche wird sie zur gleißenden Verführerin. 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. Dass dazu perfekte Stimmtechnik kommt, sollte zu einer großen Karriere führen. 

Dreh Punkt Kultur (Elisabeth Aumiller) Gesanglich kann sich die Manon von Shelley Jackson Lorbeeren holen. Mit ihrem tragfähigen klaren Sopran lässt sie die Kernstruktur der Musik aufleben. Ihre stärksten Momente hat sie beim Abschied von ihrer Liebe und ihrem kleinen Tisch im zart gesungenen »Je ne suis que faiblesse…..Adieu, notre petite table«. Auch in der Verführungsszene im Kloster »N’est – ce plus ma main«, als ihr Des Grieux von Neuem erliegt, entlockt sie ihrer Stimme eindrückliche Facetten und Farben.

Salzburger Nachrichten (Florian Oberhummer) Shelley Jackson erfüllt die Anforderungen an die Titelrolle vor allem stimmlich über Gebühr. Seit ihrem Landestheater-Debüt als Mimì vor eineinhalb Jahren hat sich die Stimme der US-Sopranistin noch einmal weiterentwickelt. In der Höhe zwischen silbrig schattiertem Piano und kraftvollen Spitzentönen changierend, setzt sie die Koloraturen treffsicher. Ihr warmes Timbre lässt sie nuancenreich strömen.

BR Klassik (Peter Junglbut) Stimmlich überzeugte in Salzburg die Amerikanerin Shelley Jackson in der Titelrolle


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Feinsinnig, nuancenreich und ergreifend ist die Mimì der Shelley Jackson.

Tiroler Tageszeitung Dennoch sind die Hauptrollen ideal besetzt. Jacksons klarer und leicht dunkler Sopran passt hervorragend zur gezeichneten Mimi.

Kurier (Helmut Christian Mayer) Das Ensemble ist von hoher Qualität: Feinsinnig, nuancenreich und ergreifend ist die Mimì der Shelley Jackson.

Bayerischer Rundfunk (Peter Jungblut) Mit den Solisten hatte das Salzburger Landestheater diesmal viel Glück: Sopranistin Shelley Jackson aus Baltimore überzeugte als schwindsüchtige Mimì... Ein verdienter Erfolg für das Landestheater.

Süddeutsche Zeitung (Rita Argauer) Dabei macht er vieles richtig. Wie auch das ausgesprochen feinsinnig besetzte Ensemble, allen voran die mit tief gehender Dramatik ausgestattete Shelley Jackson als Mimì...

Kronen Zeitung (Hans Langwallner) Sehr feine Linien und tief gezogene Gefühle ließ Shelley Jackson hören schön!

Salzburg Wochen Spiegel (Veronika Zangl) Luciano Ganci und Shelley Jackson begeistern als Rodolfo und Mimì. Mit ihrer wunderbaren Stimmstärke, dominieren sie die Bühne. Empathisch und nuanciert verleihen sie den Arien und Duetten eine spezielle Note. Für den lyrisch-sentimalen Teil der Oper gebucht, liegt das Augenmerk auf der vokalen und schauspielerischen Darstellung, die beide vorzüglich beherrschen.

Der Neue Merkur (Markus Thiel) Für den Betriebsausflug in der eigenen Stadt spendiert das Haus hervorragende Kräfte... Shelley Jackson (Mimì) ist mit ihrem apart dunklen, leicht ansprechenden Sopran wohl lyrischer...

DrehPunktKultur (Reinhard Kreichbaum) Shelley Jackson als Mimi ist von ganz anderem Holz geschnitzt, sie kann sich auf deutlich mehr Zurückhaltung im Orchestergraben verlassen und steht in der differenzierten Gestaltung weit über ihrem Partner... Es sind vor allem die Mimi-Szenen, in denen auch das Filigran der Instrumentation gut heraus kommt.


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Shelley Jackson steigert sich auf imponierende Art: ein ergiebiger Sopran von größter Strahlkraft.

Tages- Anzeiger (Tom Hellat) Die Sopranistin Shelley Jackson aus dem Internationalen Opernstudio singt die Song-Lian klar, hell und leuchtend, selbst in der Katastrophe. Wie der Lichtkegel einer Taschenlampe tastet sie mit ihrer Stimme die Weltschwärze des Dramas ab.

Oper Aktuell (Kaspar Sannemann) Die Hauptperson der vierten Herrin Song-Lian wirkt zu Beginn suchend, wird im Verlauf der ausweglosen Situation immer expressiver und vielschichtiger. Die Sopranistin Shelley Jackson meistert diese Anforderungen stimmlich und darstellerisch mit beklemmender und berührender Intensität. Ihr apartes Timbre wird von Szene zu Szene selbstbewusster und dramatischer, ohne je die sichere Gesangslinie zu verlassen.

Opernnetz (Peter E. Rytz) Hauptfigur und zu gleich Außenseiterin, die sich in den Regeln der innerbetrieblichen Festungsordnung nicht auskennt, letztlich auch nicht auskennen will, versucht Song-Lian dagegen zu opponieren. Der lyrische Sopran von Shelley Jackson ist geradezu geschaffen für diese Rolle. Textverständlich artikulierend, sicher in den Wechseln zwischen den Stimmlagen. Verzweifelt aufbegehrend und aufschreiend gegen die Traumbilder der Ängste und die klaustrophobischen Phantasien, moduliert sie ihre Stimmungen. Ihr Stimmumfang reicht vom verhalten klingenden Diskant bis zu tremolierendenKoloraturen. 

Badische Zeitung/ Opernwelt (Heinz W. Koch) Jost hat ein unverkrampftes Verhältnis zur Melodie, zu einer Art Dauer-Arioso. Der umfängliche Part der zentralen vierten Herrin profitiert ganz besonders davon: Empfindungstiefe trifft auf intensiv durchlebten Ausbruch. Shelley Jackson steigert sich auf imponierende Art: ein ergiebiger Sopran von größter Strahlkraft. 

Schwäbische Zeitung (Werner M. Grimmel) Shelley Jackson überzeugt als vokal und darstellerisch fabelhafte Song-Lian. 

Deutsche Bühne (Detlef Brandenburg) Shelley Jackson, Nachwuchssängerin aus dem Internationalen Opernstudio (IOS) der Oper Zürich, gibt der Song-Lian mit ihrem hellen, in der Höhe ausdrucksvoll aufblühenden… Sopran viel Emphase und zudem eine lupenreine Intonation mit ins Bühnenleben.

Basler Zeitung (Tobias Gerosa) Souveräne Hauptrolle: Shelley Jackson aus dem Opernstudio besteht in dieser zentralen Rolle stimmlich wie darstellerisch souverän. Ihr bekommt die strenge Stilisierung der Regie gut. 

Deutschlandfunk (Jörn Florian Fuchs) Shelley Jackson singt Song-Lian hinreißend emphatisch.

Deutschlandradio kultur (Roger Cahn) Die junge amerikanische Sopranistin Shelly Jackson meistert die Rolle sowohl stimmlich wie darstellerisch überzeugend. 

Der Landbote (Herbert Büttiker) Mit der innigen und expressiven Dringlichkeit eines vollen und geschmeidigen Soprans berührt Shelley Jackson als die neu ankommende vierte Herrin – die junge Song-Lian. 

Neue Musik Zeitung (Frieder Reininghaus) Nicht nur wenn sie mit sich selbst (dank Voraufzeichnung) Duett singt, gelingen Shelley Jackson berührende Momente. Die Partie der unter Zwang Geheirateten rückt wie selbstverständlich in die Traditionslinie großer Frauenrollen wie der Lucia di Lammermoor oder, noch deutlicher, der Judith in Béla Bartóks „Blaubart“. 

Süddeutsche Zeitung (Reinhard J. Brembeck) Die Neue wird es nicht leicht haben. Auch wenn Shelley Jackson ihre Song-Lian mit hinreißender Schönheit und betörender Anmut in Szene und Gesang setzt. 

Südkurier (Tobjörn Bergflödt) Als Song-Lian macht Shelley Jackson, die mit mit viel Ausdruck den Biegungen dieser lyrischen Sopranpartie nachfährt, die Unentrinnbarkeit deutlich, mit der das Ganze auf die Katastrophe zusteuert. 

Bayerische Rundfunk (Florian Hauser) Wenn Song Lian, die junge Ehefrau, am Ende wahnsinnig wird und sich aufspaltet. Ein "Ich" singt auf der Bühne, ein anders in den Rängen. Das ist gekonnt gemacht und anrührend gesungen. Die junge Shelley Jackson als gespaltene Song Lian, verzweifelt, verloren, stimmgewaltig. Gerade solche dichten und lichten Momente machen diese Oper zwiespältig. 

Frankfurter Allgemeine Zeitung (Jan Brachmann) Shelley Jackson erzielt große Wirkung mit ihrem lyrischer Sopran, wenn sie in einer Wahntraumszene mit der Aufzeichnung ihrer eigenen Stimme, die durch die Lautsprecherboxen des Saales wandert, Zwiegesang hält. 


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Als betörende Femme fatale, die den verlassenen Marcello im Handumdrehen wieder für sich einnimmt, punktet sie auf jeden Fall.

Tages Anzeiger/ Der Bund (Susanne Kübler) die junge Amerikanerin Shelley Jackson als lebenslustige und in der Show wie im Gebet gleichermassen glaubwürdige Musetta einen starken Auftritt hat.

Neue Zürcher Zeitung (Thomas Schacher) Die Gegenfigur zu Mimì stellt die Musetta von Shelley Jackson dar. Stimmlich dürfte der Kontrast der jungen Sopranistin vom Internationalen Opernstudio zu Mimì noch deutlicher sein, aber als betörende Femme fatale, die den verlassenen Marcello im Handumdrehen wieder für sich einnimmt, punktet sie auf jeden Fall. 

Badische Zeitung Aber damit war das Zürcher Stimmglück noch keineswegs am Ende. Shelley Jackson trumpft mit Musettas Walzer-Koloraturen bestechend auf…

Musik und Theater Nur die beiden Frauen trauten sich zum Glück , im kleinen Zürcher Opernhaus, das minimste stimmliche Nuancen bis in die höchsten Ränge transportiert, beim Forcieren aber ganz schnell nur noch schrillt, auf vielschichtigere Farben und eine wache dynamische Linienzeichnung zu setzen. Beide, Shelley Jackson als Musetta und vor allem die Chinesin Guanqun Yu als Mimi haben keine kleinen Stimmen und das bewiesen sie durchaus wiederholt, aber dann mit Sinn, Geschmack und Verstand.


Der Neue Merker (John H. Mueller) Sehr schön die Begleitung beispielsweise bei den Mozart-Stücken oder auch bei der Juwelenarie der Margarete. Diese wurde von Shelley Jackson wunderbar mit ausschwingender Stimme und persönlichem Charme gesungen. Die junge Amerikanerin hatte sich bereits mit ihrem mutigen Einspringen... in der Uraufführung von Christian Josts Oper „Rote Laterne“ nachhaltig empfohlen. Alles bei dieser Sängerin wirkte natürlich; die Bewegungen entwickelten sich aus dem musikalischen Erzählfluss und wirkten nicht aufgesetzt. Als Adina (L’Elisir d‘Amore)  konnte sie mit Stimme und Charme brillieren...-


Tages-Anzeiger Ehrensache, Robin...Mary Ann heiratet, die schöne Prinzessin mit ebenso schöne Stimme (Shelley Jackson)

Zürichsee-Zeitung (Herbert Büttiker) Da ist mit anmutiger Stimme das edle Fräulein Mary-Ann (Shelley Jackson)