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Opernhaus Zürich: Rote Laterne 2015


"Her voice shines like the bulb in a flashlight searching through the drama’s overwhelming darkness..." Read More

Opernhaus Zürich: Rote Laterne 2015


"Her voice shines like the bulb in a flashlight searching through the drama’s overwhelming darkness..." Read More

Opernhaus zürich: Rote LanternE 2015

Tages- Anzeiger (Tom Hellat) Den Sängerinnen und Sängern lässt er genug Raum für Charakterdarstellung. 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. The singers leave plenty of room for character development. 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.

Opéra Magazine (Éric Pousaz) Le plateau vocal est de haute qualité. Dans le role phare de Song-Lian, présente de bout en bout, la jeune Américaine Shelley Jackson offre un jeu d'une justesse enthousiasmante et d'une force inouïe. De plus, son soprano se révèle solide, puissant mais sans dureté, alors que le souffle est d'une longueur surprenante. The vocal level is of the highest quality. 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) Ottima il cast in cui giganteggia il soprano Shelley Jackson, impressionante protagonista sia sul piano vocale (la parte è davvero impervia), sia su quello teatrale. The cast is excellent, in 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) 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.       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) 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. Main character and equal outsider, who does not know about the rules of this internal fortress, and ultimately does not want to know, Song-Lian tries to oppose them. 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. 

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. 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. 

Schwäbische Zeitung (Werner M. Grimmel) Shelley Jackson überzeugt als vokal und darstellerisch fabelhafte Song-Lian. Shelley Jackson convinces as a vocally and dramatically fabulous Song-Lian.

Corriere del Ticino (Marinella Polli) Abbracciamo il cast in un'unica, calda lode, ricordando pertanto una perfetta Shelley Jackson nel non facile ruolo del titolo. Let us embrace the cast in one single, warm praise, remembering a perfect Shelley Jackson in the not easy title role.

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. 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.

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. Sovereign main role: Shelley Jackson from the Opera Studio comes through in this role both vocally and dramatically sovereign. She understands well the strict stylization of the direction.

Deutschlandfunk (Jörn Florian Fuchs) Shelley Jackson singt Song-Lian hinreißend emphatisch. Shelley Jackson sings Song-Lian gorgeously and emphatically.

Deutschlandradio kultur (Roger Cahn) Die junge amerikanische Sopranistin Shelly Jackson meistert die Rolle sowohl stimmlich wie darstellerisch überzeugend. The young American soprano Shelley Jackson convincingly masters the role both vocally and dramatically.

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. 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.

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“. Not only when she sings a duet with herself (thanks to a pre-recorded track), Shelley Jackson succeeds in touching moments. The part of the woman married off under duress follows in the tradition of great female roles such as Lucia di Lammermoor, or even more closely, Judith in Béla Bartók's Bluebeard's Castle.

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. 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.

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. Shelley Jackson as Song-Lian, goes after the twists in this lyric soprano part with much expression, the obvious inescapability of the whole thing headed to disaster.

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. 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 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. 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.

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The Grange Festival: Carmen 2017


"Shelley Jackson is indeed a force to be reckoned with in this role..." Read more

The Grange Festival: Carmen 2017


"Shelley Jackson is indeed a force to be reckoned with in this role..." Read more

The GRange Festival: Carmen 2017

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 Grange Festival: Mansfield Park 2017


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

The Grange Festival: Mansfield Park 2017


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

The Grange festival: Mansfield Park 2017

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."

 

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Haus für Mozart: La bohème 2017


"Shelley Jackson's Mimì is sensitive, nuanced, and touching..." Read more

Haus für Mozart: La bohème 2017


"Shelley Jackson's Mimì is sensitive, nuanced, and touching..." Read more

Salzburg Landestheater: La bohème 2017

Tiroler Tageszeitung Dennoch sind die Hauptrollen ideal besetzt. Jacksons klarer und leicht dunkler Sopran passt hervorragend zur gezeichneten Mimi.
Nevertheless the main roles are ideally occupied. Jackson's clear and slightly dark soprano fits perfectly with the drawn Mimi.

Kurier (Helmut Christian Mayer) Das Ensemble ist von hoher Qualität: Feinsinnig, nuancenreich und ergreifend ist die Mimì der Shelley Jackson.
The ensemble is of high quality: Shelley Jackson's Mimì is sensitive, nuanced, and touching.

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.
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) Dabei macht er vieles richtig. Wie auch das ausgesprochen feinsinnig besetzte Ensemble, allen voran die mit tief gehender Dramatik ausgestattete Shelley Jackson als Mimì...
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) Sehr feine Linien und tief gezogene Gefühle ließ Shelley Jackson hören schön!
Shelley Jackson beautifully produced very fine lines and deep-drawn feelings!

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.
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) 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...
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 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.
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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Opernhaus Zürich: La bohème 2015


Jackson's voice sparkled with diamond-like brilliance in Quando m'en vo'..." Read more

Opernhaus Zürich: La bohème 2015


Jackson's voice sparkled with diamond-like brilliance in Quando m'en vo'..." Read more

Opernhaus Zürich: La bohème 2015

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) 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. 

The Musetta of Shelley Jackson represents the counter-figure to Mimì. Vocally, the young soprano from the International Opera Studio could be in clearer contrast to Mimì, but 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) ...die junge Amerikanerin Shelley Jackson als lebenslustige und in der Show wie im Gebet gleichermassen glaubwürdige Musetta einen starken Auftritt hat.

...the young American Shelley Jackson had a strong appearance, equally believable both as the fun-loving showgirl and in prayer as Musetta.

 

 

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Santa Fe Opera: Don Pasquale 2014


"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..." Read More

Santa Fe Opera: Don Pasquale 2014


"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..." Read More

SANTA FE OPERA:  DON PASQUALE 2014

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.

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Sante Fe Opera: Capriccio 2016


"Soprano Shelley Jackson and tenor Galeano Salas are wonderfully wacky..." Read More
 

Sante Fe Opera: Capriccio 2016


"Soprano Shelley Jackson and tenor Galeano Salas are wonderfully wacky..." Read More
 

Santa Fe Opera: Capriccio 2016

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 

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Various Performances


"She radiated star quality and sang exquisitely..." Read more

Various Performances


"She radiated star quality and sang exquisitely..." Read more

Bolshoi Theater: Competizione dell'Opera 2016

Невозможно пройти и мимо арии Недды «Qual fiamma avea nel guardo» из «Паяцев» Леонкавалло в прочтении американки Шелли Джексон. Ее пение, само по себе прекрасное, манкое, выразительное, отличала необыкновенная вокальная свобода (качество, при всей техничности и красоте голосов, присущее далеко не всем из участников) – состояние, когда певец поет, «как дышит», когда уже совершенно нет внимания слушателей к каким-то вокальным сложностям и тому как именно певец их будет преодолевать. Это уже та грань и степень мастерства, которая позволяет заниматься искусством как таковым – без оглядок на технические вопросы, вольно и эмоционально насыщенно.

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 this together 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

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...-

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)


Opernhaus Zürich: Robin Hood 2014

Ehrensache, Robin...Mary Ann heiratet, die schöne Prinzessin mit ebenso schöne Stimme (Shelley Jackson). - Honorably, Robin marries Mary-Ann, the beautiful princess with an equally beautiful voice. (Tages- Anzeiger, Zürich)

Da ist mit anmutiger Stimme das edle Fräulein Mary-Ann (Shelley Jackson)- With graceful voice, the noble maiden Mary-Ann. (Herbert Büttiker, Zürichsee-Zeitung)


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)