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)