As The Magician in THE CONSUL, Florida Grand Opera
"In the role of Nika Magadoff, a magician trying to flee the country, Jason Ferrante was the most comfortable and relaxed person on the stage. It is obvious that Ferrante has performed this role before and knows exactly what he is doing with his character at all times. This role is almost tailor-made for him and his performance was as close to perfect as it gets." - Edge Media Network
"The character of the magician Nika Magadoff breaks the tension in one of the scenes at the consulate with a vivacious operetta interlude. Jason Ferrante dazzled in this vignette, dancing around the stage while doing magic tricks and hypnotizing everyone in the room, his agile character tenor light and well projected. " - Miami Herald
"there are moments of almost painful beauty as in the ensemble that concludes the first act and Mother’s lullaby to her grandson, along with Nika Magadoff’s distinct and deliberately annoying “comic” aria (here brilliantly given by Jason Ferrante). " -concertonet.com
"Jason Ferrante is ideal as the magician." - Opera News
"But Menotti knows how to entertain: the Act II appearance of the Magician, for instance, looks almost embarrassing on paper, but in performance, particularly done as expertly as tenor Jason Ferrante performed it Sunday, it works wonderfully well. Ferrante, as I noted in passing earlier, was a terrific Nika Magadoff (the Magician), utterly at home with this part, tossing off the magic tricks with aplomb and singing with a sturdy, clear voice and crisp diction." -Palm Beach Arts Paper
"Tenor Jason Ferrante, using his diminutive stature to his advantage as The Magician Nika Magadoff, delighted the audience in the house and on stage as he flitted about (“How did I do it?”), using sleight of hand to produce flowers and other trinkets in his attempt to curry favor with the Secretary. His high-flying tenor boosted with quirky and melodic music (complete with drumrolls) matched his prestidigitation antics as he hypnotized everyone in the waiting room except, of course, the annoyed and implacable Secretary." -Miami Artzine
As Basilio in LE NOZZE DI FIGARO, Atlanta Opera
"Jason Ferrante — a skilled character tenor who appeared in the Atlanta Opera’s recent production of Madama Butterfly — here reinvented himself as the greasy-haired Don Basilio." -Opera News
"The Count’s corner was further complimented by tenor Jason Ferrante as Don Basilio. As seen earlier this season in the curiously similar role of Goro in Puccini’s Madama Butterfly, Mr. Ferrante brought a nuanced reading of the scheming music teacher in both his acting and singing. He had the gossip, and rejoiced in telling it, and in a world without budgetary constrictions the reintroduction of his aria “In quell’anni in cui val poco” would have made a valid case." -newoutpost.com
As Goro in MADAMA BUTTERFLY, Atlanta Opera
"the important comprimario part of Goro was vividly delivered by tenor Jason Ferrante." -newoutpost.com
"Jason Ferrante was well-suited for the character role Goro." -Opera News
as Spoletta in TOSCA, Florida Grand Opera
The scene’s suspense grows darker, Puccini’s score ever expanding, as Scarpia, with the help of his right-hand-man Spoletta (creepy tenor Jason Ferrante), leads the interrogation and torture of Cavaradossi. - MiamiArtZine
as the Fourth Jew in SALOME, Boston Symphony Orchestra, Andris Nelsons, cond.
In smaller roles, bass-baritones Keith Miller and Ryan Speedo Green as two soldiers made the most of their mainly expository dialogue at the beginning of the show, and tenor Jason Ferrante was a humorous standout as Jew No. 4 in an otherwise squirm-inducing bit of comic relief satirizing Jewish theological disputations. -Boston Classical Review
In recital with soprano Mary Wilson, Artists Series of Sarasota
It would be easy to report that the Artists Series Concerts hosted a song recital featuring two splendid vocalists, soprano Mary Wilson and tenor Jason Ferrante. Each singer stands out as one of the best voices I have heard in a very long time, in a live performance.
But this concert was so much more than a display of vocal artistry.
This evening, set cabaret style on the main floor at Holley Hall, created an intimate atmosphere in which two artists, with the collaborative support of the beaming Lee Dougherty Ross, drew us into the circle for one story after another.
Yes, stories. Each song, each aria is a story in itself and the singer the character expressing him or herself. It seems self-evident, but when in the presence of two such masterful singer/actors so many other performances pale in comparison.
Both Wilson and Ferrante established their vocal credibility immediately with an aria each from Handel's Alcina. Clear, ringing tone throughout their ranges brought sheer beauty with stylistic perfection. Wilson floated high notes and delivered ornaments with precision and grace. Ferrante's focused and often bell-like tone, negotiated trills with an easy flexibility.
Ferrante proceeded to sing Don Octavio's "Dalla sua pace" from Mozart's "Don Giovanni" and two songs by Puccini. These were lovely, but could not compare with surprising delight of two songs by Stephen Foster. We don't expect to be wowed by that old song "Beautiful Dreamer," but in his hands, so to speak, Foster stood on par with Schubert in terms of lyrical depth. Foster has a sense of humor, too, surprising us with "If you only have a mustache" advice for men. Even more touching was Ferrante's heartfelt story of baseball in Craig Carnelia's "What you'd call a dream."
Working together, as they did in the two "Candide" selections, the final duet from "La Traviata," "parigi, o cara" and "Tonight" from Bernstein's "West Side Story," Wilson and Ferrante shared a compelling chemistry. This rare ability to connect with the audience and each other on stage so consistently was a great treat to experience.
Being called enthusiastically back to the stage, the two left us with a meltingly romantic love duet "O Soave fanciulla" from "La Boheme," walking off stage as Mimi and Rodolfo holding hands.
As The Magician in THE CONSUL, Opera New Jersey
"In any case, the casting (including veteran Joyce Castle, always great to see) is as musically and theatrically adept as one could hope for, particularly Jason Ferrante as a madcap musician who tries to use magic tricks to get his way with the elusive consul" -Philadelphia Inquirer
As Goro in MADAMA BUTTERFLY, Kentucky Opera
"Jason Ferrante is insidiously oily in his portrayal. His wonderful voice is playful in the opening scene with Pinkerton where he is showing him his new house." -The Arts Louisville
As Jacquino in FIDELIO, Opera Boston
"Tenor Jason Ferrante brought an easygoing, conversational quality to the role of Jacquino, the servant in love with Marzelline, and while the staging occasionally encouraged him toward over-cuteness, his was a charming performance overall."-Opera News
"The evening begins promisingly: Jason Ferrante impressed with outstanding text comprehensibility, charmingly funny stage play, and precise singing." (translation of German language review) -Operpoint
"Tenor Jason Ferrante was a sprightly pest as Jacquino, bright comic relief with an easygoing, reed-stop sound." -The Faster Times
"The opening scene between Marzelline, the jailer’s daughter, and Jacquino, his servant, was played and sung with verve by soprano Meredith Hansen and tenor Jason Ferrante, respectively." -Berkshire Fine Arts
"The cast —Christine Goerke (Leonore), Andrew Funk (Rocco), Michael Hendrick (Florestan), Meredith Hansen (Marzelline), Scott Bearden (Don Pizzaro), Jason Ferrante (Jaquino) and Robert Honeysucker (Don Fernando) — was excellent throughout, all boasting of big and beautiful instruments that they used to full effect." -The Boston Musical Intelligencer
"The tenor Jason Ferrante and soprano, Meredith Hansen were brilliant as Jacquino and Marzelline." (translation of Italian language review) -GB Opera
Performance of Schumann's Liederkreis op.39 with pianist, Elaine Rinaldi, Miami, FL
"Ferrante has a deep voice,at least in this instance, in the lowest tessitura of his voice. With great flexibility and a wide color pallet, the singer rendered an exquisite interpretation, raising the emotive value of a piece that seems to be very simple, but in fact is quite complex and charged with sentimental repercussions...his interpretation of Mondnacht was so intense, it brought you to tears. Here is a young talent that has a long future in this difficult genre." (translation)-El Nuevo Herald
As the Beadle in SWEENEY TODD, Teatro Comunale di Modena and Teatro Rossini di Lugo
"Jason Ferrante left everyone with their jaws dropped by transforming the innocuous parlor songs into fireworks, alternating between his beautiful tenor voice and his stupendous falsetto soprano, complete with floated high notes and ending on a baritonal low G." -L'Informazione di Modena
As Goro in MADAMA BUTTERFLY, Madison Opera
"Jason Ferrante showed genuine flair for comic detail as Goro, the marriage broker."- Isthmus
As Basilio in Le Nozze di Figaro, Berkshire Opera
"Tenor Jason Ferrante seems to brighten every stage he mounts, giving extra significance to Don Basilio, the music teacher with a clear yen for Cherubino, and later Don Curzio, the stammering lawyer; Ferrante's timing is impeccable"- The Berkshire Eagle
As Eumete in Il Ritorno d'Ulisse in Patria, Greenwich Music Festival
Jason Ferrante, a fine, fluent character tenor and a mettlesome Eumete, got the gold star for trills-Opera News
As Monostatos in THE MAGIC FLUTE, Arizona Opera
"The cast for Saturday’s performance included the return of the very funny and talented tenor Jason Ferrante as the striped beast Monostatos" -The Arizona Daily Star
"Pamina on Sunday was Nathalie Paulin. Her character was just the right combination of sympathy for her plight as a kidnapped hostage and fortitude in fending off the creepy Monostatos, made deliciously evil and repulsive by Jason Ferrante."
-Green Valley News and Sun
"The lascivious Monostatos, Jason Ferrante, turns convention upside-down in The Magic Flute." -The Arizona Republic
As Arturo in LUCIA DI LAMERMOOR, Arizona Opera
"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
"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
" 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
"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
"Tenor Jason Ferrante was gruff and churlish as the meddling marriage broker, Goro"-The Birmingham News
Wolf Trap Opera Performances
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
"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
"Jason Ferrante has some infectuous fun with his character, Rooster" -C-Ville Weekly
Mozart Arias Concert, Annapolis Opera
"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
"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