"This was Opera Omaha’s strongest cast in years. Every voice was well placed and present throughout. . . Jason Ferrante’s bright tenor voice was delightful as Beppe." - Opera News

“Beppe, portrayed by Jason Ferrante, represents the only male character that is sympathetic toward Nedda and without ulterior motives...his silvery serenade in the second act was breathtaking and clear. In the final confrontation, Beppe seems to be the only one with any sense onstage, but his efforts to intercede on Nedda's behalf are unsuccessful.” - Schmopera

"Tenor Jason Ferrante masterfully 

provided the operatic poem." Broadwayworld.com

"excellently sung offstage by tenor Jason Ferrante" -cltamnpa.com

"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

“Jason Ferrante is ideal as the magician.”- Opera News

“ . . .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

“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

“Mención especial para Jason Ferrante, quien como el mago Magadoff tiene a su cargo la única escena humorística que pone un respiro en medio de la tensa acción. Quizá por eso el público, aunque reducido, en comparación con otras puestas operísticas, se puso de pie en su mayoría a ovacionar la obra y, muy especialmente, la conmovedora actuación de Thomson; aunque Livengood, Ferrante y Bisantz también fueron muy merecidamente aclamados en sus saludos individuales.”- El Nuevo Herald

“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

"Jason Ferrante showed the soul of a henchman as Scarpia’s servile assistant, Spoletta."- South Florida Classical Review

“In smaller roles . . . 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 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

“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. . . 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.- Sarasota Herald-Tribune

"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

"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

"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

“Jason Ferrante, a fine, fluent character tenor and a mettlesome Eumete, got the gold star for trills. . .”-Opera News

"The cast for Saturday’s performance included the return of the very funny and talented tenor Jason Ferrante as the striped beast Monostatos" 

-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

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

"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

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

“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