I'm a paragraph. Click here to add your own text and edit me. It’s easy. Just click “Edit Text” or double click me and you can start adding your own content and make changes to the font. Feel free to drag and drop me anywhere you like on your page. I’m a great place for you to tell a story and let your users know a little more about you.

This is a great space to write long text about your company and your services. You can use this space to go into a little more detail about your company. Talk about your team and what services you provide. Tell your visitors the story of how you came up with the idea for your business and what makes you different from your competitors.

Tip: Use this area to describe one of your services. You can change the title to the service you provide and use this text area to describe your service. Feel free to change the image.

ACCLAIM

  

 

 

 

Die tote Stadt

"Jason Wickson meistert die Partie des Paul mit kräftigem Tenor, der in den Höhen über enorme Strahlkraft verfügt."


"Jason Wickson masters the part of Paul with a powerful tenor, which has enormous radiance at the heights."

-Online Musik Magazin

Die tote Stadt

"Der Amerikaner Jason Wickson, zu dessen Repertoire bereits Florestan, Don Jose und Calaf gehören, gibt mit der Partie des Paul in Wuppertal zugleich sein Deutschland-Debut. Den trauernden, in sich gekehrten, vor Kummer wie gelähmten Mann verkörpert er in bewegender Weise und meistert die anspruchsvolle Partie stimmlich sicher und musikalisch souverän."

-Das Opernmagazin

Der fliegende Holländer -

"A revelation among the cast was the Erik of Jason Wickson. Possessing a tenor of unusual power and clarity, he was able to fashion Senta's would-be lover into a figure of both strength and pathos — an admirable accomplishment."

- Opera News

Macbeth -

" Former Chautauqua Opera Young Artist Jason Wickson brought the house down as Macduff, a figure who simultaneously laments the collapse of his nation into tyranny and the unspeakable tragedy of personal loss of his wife and children. Big, tough yet lyrical at the core, this young tenor is sure to go far."

- The Chautauquan Daily

 

Macbeth -

"...and Jason Wickson, who's powerful and beautiful tenor brought chills to the spine as Macduff."

- The Post Journal

 

Salome -

"The vocal line-up was impressive. The whole cast sang Strauss' formidable score with powerful resonance, and Jason Wickson fired up the opening with command as Narraboth, captain of the guard."

- South China Morning Post

 

Der fliegende Holländer -

  1. “Jason Wickson made you really listen to Erik rather than just tolerate him; his performance was ardent and his voice held Heldentenor promise.”

- OPERA Magazine

 

Der fliegende Holländer -

"Best was another tenor, Jason Wickson, as a passionate, bronze-toned Erik. With his hapless love for Senta, Erik seems ridiculous in many productions, but Mr. Wickson gave him affecting seriousness."

- New York Times

 

Der fliegende Holländer -

"Most impressive vocally was Senta’s suitor Erik, sung by Jason Wickson, with a full, honey-toned tenor that soared over the orchestra."

- The Star-Ledger

 

Der fliegende Holländer -

“Mr. Wickson definitively proclaimed his love for Senta in a passionate and richly musical soliloquy.”

– Princeton: Town Topics

 

Der fliegende Holländer -

"Mr. Wickson is a strong, dramatic tenor whose duets with Ms. Thomas are passionate and convincing."

- Central Jersey Entertainment

 

Fidelio -

"Big voices in the principal parts handled the demands of Beethoven's Fidelio adroitly . in Michigan Opera Theatre's April production.... she paired well with her Florestan, Jason Wickson, whose commanding voice had heroic sweep to it..."

-Opera Canada

 

Carmen -

“Jason Wickson is performing the role of Don Jose, and many attending said that Wickson’s star is on the rise. His…solo at Sunday’s event illustrated why he may become one of opera’s household names in the future…”

–The Winston-Salem Journal

 

Carmen -

“The demanding role of Don José was sung by tenor Jason Wickson whose lovely big voice covered all the demands of the part, being easily heard at all times.”

– CVNC (Classical Voice of North Carolina)

 

La Traviata -

“…Partnering her was tenor Jason Wickson as the young poetic Alfredo Germont with a very nice characterization of the smitten young man and a voice that always reflected the drama.”

- WFIU Bloomington

 

Macbeth-

”Wickson overlayed his romanza, ‘Ah, la paterna mano,’ with an astonishingly resonant bel canto style. This is Verdi at his old-fashioned best, turning out an aria that sounds as if from the operatic past, but yet still looks forward with characteristic flourishes in orchestration that make it forever modern.”

–Houston Press

 

Macbeth-

“Jason Wickson, as Macduff, understood his role as a benevolent character who’s responsible for the kingdom’s absolution. This young tenor’s delivery cut through thick and loud scoring such that a ray of impassioned sunshine foretold the corrupt couple’s karma…”

–Houston Culture Map

 

Macbeth-

“Prepare to sit on the edge of your seat and clear your throat to proudly yell Bravo! during the second half. The deserving monologue by Mr. Wickson during an otherwise grievous moment was one such moment, when several audiences members vocalized their admiration for his raw talent.”

–Delaware Arts Info

 

Die Zauberflöte -

"Particularly outstanding were the two priestly men in armour: bass-baritone...and tenor Jason Wickson. Never have I heard their words of admonition sung so vibrantly, convincingly and beautifully."

- Grosse Pointe News

 

Madama Butterfly -

“Soprano...and Wickson fit together in vocal command and tenderness, both capable to raise hair on the back of the neck with their authoritative deliveries, but equally resolved in the hesitations so necessary to the leads in Madame Butterfly, timid about spending that first night together.”

–The Chautauquan Daily

 

La Fanciulla del West -

"Jason Wickson as Johnson is as gentlemanly as a bandit can be. And he definitely lets his guard down for Minnie. When he looks death in the face at the end of the opera, he valiantly accepts it without begging for mercy or cowering in any way. His powerful, pure tenor voice becomes grave and heroic as he prepares for what looks like the end of his life and love. It's quite a change from the sweet, romantic tone in his scenes with Minnie."

- Mobile Press Register

 

  

© 2020 BY JASON WICKSON ALL RIGHTS RESERVED

  • Twitter Clean
  • w-facebook