©Photo: Lily Lancaster

Jack Swanson

Tenor

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“The biggest asset of the production is Jack Swanson as Rodrigo, who has an even higher-lying role than Otello [Rossini].”
(Frankfurter Rundschau, September 2019)

With an affinity for the high lyric repertoire, the American tenor Jack Swanson has quickly established himself as one of the most sought-after young voices in opera. A string of impressive European debuts in recent seasons has included his debut at Oper Frankfurt as Rodrigo in Damiano Michieletto’s new production of Rossini’s Otello, his first Nemorino in L’elisir d’amore for Den Norske Opera, Sam Kaplan in Weill’s Street Scene for Oper Köln, Conte Almaviva (Il barbiere di Siviglia) for Glyndebourne on Tour, and Candide in concert at the Théâtre des Champs-Elysées under Robert Tuohy. This season Jack makes his debut in the title role in Le comte Ory in a new production by Cal McCrystal and conducted by Valentina Peleggi for Garsington Opera, and returns to both Oslo and Cologne as Conte Almaviva, the latter in the classic staging by Ruth Berghaus.

Following his studies at the University of Oklahoma and the Shepherd School of Music at Rice University, Jack performed the title role in Britten’s comic opera Albert Herring as a young artist with The Seagle Music Colony, and subsequently spent two years as an apprentice at the Santa Fe Opera. Jack has since returned to Santa Fe as Lindoro (L’italiana in Algeri), and added Belmonte (Die Entführung aus dem Serail) at Opera Omaha last season.

Cessa di piu resistere from Il barbiere di Siviglia © Den Norske Opera

Equally comfortable on the concert and recital platforms, Jack sang selections from Schumann’s Dichterliebe for his debut at the Kennedy Center in Washington, his first Rossini Messa di Gloria with Speranza Scappucci and the Insula Orchestra, and a series of concerts with Orchestre National de Lille for the Leonard Bernstein centenary. This season he gives his mainstage recital debut at Oper Frankfurt with Malcolm Martineau in a programme of Beethoven, Schumann, Liszt and Poulenc.

Jack has had great competition success and been the recipient of several prestigious awards in recent years, including first place in Florida Grand Opera’s Young Patroness Competition, The San Antonio Music Club Competition, The National Opera Association Competition and The Hal Leonard Art Song Competition. He twice received the Richard Tucker Memorial award from Santa Fe Opera, and was a finalist in both Houston Grand Opera’s Eleanor McCollum competition and Fort Worth Opera’s McCammon Competition. Jack Swanson studies with Stephen King.

Gallery

"Cujus animam" from Rossini Stabat Mater © Accademia Nazionale di Santa Cecilia

Otello Trailer © Oper Frankfurt

Donizetti: “Ah mes amis” from La fille du regiment © Choral Arts of DC Orchestra

Donizetti: Povero Ernesto, Don Pasquale © Jack Swanson

Schubert: Nacht und Träume

“During his encore of Rossini’s La danza, it was this endless ease with which his voice picks up speed, nothing wasteful, always hitting the mark, that put the audience in a jubilant mood…Swanson was confident, agile and charming”

(Frankfurter Rundschau, October 2020)

“Jack Swanson has a remarkable voice. Spacious and silver in the chest, this tenor, despite his youth, has already played the great roles of the Italian bel canto and can bring subject matter onto the stage effortlessly with a sympathetic gesture…This singer has a great future ahead because of his technical precision, his sheer endless breath and penetrating timbre.”

( Frankfurter Allgemeine Zeitung, October 2020)

“Jack Swanson knew how to express the sad experiences in Schumann’s Liederkreis in such a colourful and multi-faceted way. Sensitive, expressive…Swanson drew the miniatures with a glistening mid-tone before the voice opened up to an exuberant and youthful timbre.”

(Der Neue Merker, October 2020)

“The highlight of the recital was the challenging Liszt’s Petrarch sonnets which Jack Swanson performed brilliantly…the bel canto tenor is in his element, letting his juicy voice flow and undaunted by the stratospheric high notes which he takes with aplomb…All in all, a top young talent presenting a stylish and varied recital.”

(Der Opernfreund, October 2020)

“Jack Swanson’s handsome, more lyrical Rodrigo made an entirely plausible love rival.”

(Hugh Canning, Opera Mag, Jan 2020)

“The biggest asset of the production is the young American Jack Swanson as Rodrigo, who has an even more exhausting, overall higher-lying role than Otello. His aria presents the greatest danger of becoming a circus, but Swanson makes it seem so light and unpressurised that he convinces as a hapless lover and proves to be a tasteful contrast to the slightly darker-timbred Otello.”

(Frankfurter Rundschau, September 2019)

“Jack Swanson as Rodrigo overcomes all the obstacles of a role famous for its difficulty.”

(Forum Opéra, September 2019)

“Only Jack Swanson sang Rodrigo so beautifully that you feel sorry for him as Otello’s rival. Both the challenging scope and the many daredevil jumps were completely mastered by the young American tenor. His aria “Che ascolto?” was perfect and worth the lingering applause of the Frankfurt audience.”

(Bachtrack, September 2019)

“Rodrigo provides a contrast in the young, graceful tenor Jack Swanson, who makes a lightning debut in Frankfurt, mastering the impressive range and virtuosity of the role.”

(Teatri online, September 2019)

“In his debut at Den Norske Opera, Jack Swanson with his clear and lyrical tenor carries much of the music as Nemorino.”

(Aftenposten, November 2018)

“Swanson has so steady and bold a voice that he could melt a stone.”

(Scenekunst, November 2018)

“We find a perfectly assured Candide in the young American tenor Jack Swanson. His physicality, comedic moments, diction, timbre, expression, emotion: it’s all there.”

(Olyrix, October 2018)

“Jack Swanson is an ideal interpreter of Candide. His voice is full over his entire range, with a well-controlled vibrato and powerful projection. Moreover, he portrays the character not only with candour, but also humanity and emotion.”

(Forum Opéra, October 2018)

“Jack Swanson can be added to the short list of top tier Rossini tenors. His brilliant, focused lyric instrument has a captivating colour, and his effortless execution of endless racing melismas was jaw-dropping in its élan and artistry.”

(Opera Today, August 2018)

“Jack Swanson’s Candide stood out vocally in a cast that was impressively strong”

(Bachtrack, February 2018)

“Jack Swanson’s Candide anchored the production through solid acting and strong singing.”

(Seen & Heard, February 2018)

“Jack Swanson is a sweet-natured, sensitive Candide, game for it all as he travels from country to country.”

(LA Times, January 2018)

“the focus of this delightful operatic romp sits on the able shoulders of the lovely tenor Jack Swanson, in the titular role of Candide. Swanson brings the naivety and charm of a young, out-of-place, illegitimate raised by royalty”

(Broadway World, January 2018)

“Jack Swanson spouts forth with buttery tenor lyricism in the eponymous role as the optimistic Westphalian [Candide], while revealing his naïveté and travails along the way.”

(ConcertoNet, January 2018)

“Jack Swanson’s handsome Almaviva”

(Hugh Canning, Opera Magazine, December 2017)

“tenor Jack Swanson proves himself a talent to watch as Almaviva, with a ringing upper register and a knee-weakening lyric sense.”

(The Stage, October 2017)

“American tenor Jack Swanson’s Count Almaviva…[gave] a finely polished “Ecco rident”, and developed great rapport with his fellow American, Tobias Greenhalgh (Figaro)”

(Bachtrack, October 2017)

“Narciso is outshone by Jack Swanson as Albazar”

(The Times, Anna Picard, June 2017)