"The elaborately costumed bridegroom, Arturo, was sung with polished tones by Jason Ferrante." -Music and Vision Online

Tenor Soloist in CARMINA BURANA, Tucson Symphony Orchestra, April 2007

"If nothing else, they were having a ball. The same can be said for Ferrante, who strolled on stage with the swagger of a comic actor and glanced mischievously at the audience before singing his short but wondrous part. We saw Ferrante on this stage last year in Arizona Opera's production of "The Marriage of Figaro," and he's slated for three of the company's four operas next season." -The Arizona Daily Star
"Tenor Jason Ferrante sang the song of the roasting swan with plenty of character" -KUAT FM

As Basilio in LE NOZZE DI FIGARO, Arizona Opera, November 2006

" Funnier still is Jason Ferrante’s Basilio, the castle gossip, constantly playing with a lock of his stringy hair and feigning innocence while relishing every plot turn. " -East Valley Tribune, Phoenix

"A most outstanding portrayal in this production was that of Basilio, the music master. As played by the smooth sounding Jason Ferrante, he was the manor's social reporter who never missed a juicy tidbit." -Music and Vision Online

As Goro in MADAMA BUTTERFLY, Berkshire Opera, August 2006

"Jason Ferrante's impersonation of Goro, the Marriage Broker, suggested again a bright future in the valuable league of character tenors."- The Berkshire Eagle

As Goro in MADAMA BUTTERFLY, Opera Birmingham, March 2006

"Tenor Jason Ferrante was gruff and churlish as the meddling marriage broker, Goro"-The Birmingham News

Wolf Trap Opera Performances, Summer 2005

As the Beadle in SWEENEY TODD

"The show was nearly stolen a couple of times by Jason Ferrante, a foppish Beadle who sang up a stylish storm, especially when slipping into a delicious falsetto"-Opera News

"tenors Jason Ferrante (The Beadle) and Javier Abreu (Tobias) sparkle. The knife-clean high notes and perfect falsettos of the tenors are entertaining and smashingly well done." -The Washington Times

"Jason Ferrante's prissy Beadle and Javier Abreu's ardent Tobias are among the livelier creations"-The Washington Post

"...his singing - some of it in a delicious falsetto - has commanding style. " -The Baltimore Sun

"Where the Boys Are" Recital with Steve Blier
"Tenor Jason Ferrante evoked the 18th century in a beautifully ornamented 'The Lark Sings High in the Cornfield.'"-The Washington Post

"Instant Opera!" with pianist Kim Witman "The opera, at its first (and probably last) performance, was a happy improvisation that, unlikely as it might seem, made some sort of magical sense of the unlikely combination of characters and action. Witman accompanied the whole thing, improvised recitative and all, on an electronic piano, and the soloists performed with powerful communication skills and great good humor. The kids seemed enthralled."-The Washington Post

As the Magician in THE CONSUL, Arizona Opera, April 2005

"Jason Ferrante served up an adept Magician." -Opera News

"Providing much-needed comic relief was Jason Ferrante as a magician stuck in the consulate waiting room with Magda and a number of other unfortunate souls who were stuck in this "No Exit" kind of hell." -Arizona Daily Star

"Jason Ferrante provided some refreshing moments of light entertainment as the Magician."-Opera Japonica

As Rooster in ANNIE, Ash Lawn Opera, Summer 2004

"Jason Ferrante has some infectuous fun with his character, Rooster" -C-Ville Weekly

Mozart Arias Concert, Annapolis Opera, December 2003

"Ferrante sings easily, is surprisingly strong in the lower register and produces high notes of ringing clarity. He invested each aria with sensitivity, his "Dalla sua pace" from Don Giovanni beautifully conveying Don Ottavio's desire only to bring happiness to his lover, Donna Anna." -The Baltimore Sun

As Paolino in Cimarosa's THE SECRET MARRIAGE
Berkshire Opera

"Jason Ferrante, in particular, offers emotive tenor singing complemented by slightly impish acting. When Ferrante sings toward the finale that "Love is ours, we cannot fail", one roots for him despite the cursory romantic chemistry." -The Pittsfield Gazette

"...he is a superb character actor, imbuing Paolino with an endearing Chaplinesque quality." -The Berkshire Eagle, July 2003

The Annapolis Opera Vocal Competition Finals

"Ferrante chose "Del piu sublime soglio" from Mozart's La Clemenza di Tito, an aria that displayed his pleasing tenor and vocal flexibility. The judges requested the melodic "Quanto e bella" from Donizetti's L'Elisir d'Amore, which revealed Ferrante's ability to express fully Nemorino's rapturous joy at his beloved Adina's beauty. Part of a judges third selection-the melodic "Dies Bildniss" from Mozart's Die Zauberflote-was offered to display the tenor's facility with the German language, and according to my German-born companion, Ferrante was not found wanting. -The Baltimore Sun