“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 contract to the slightly darker-timbred Otello.”

“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.”

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

“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.”

“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.”

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

“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”

“Jack Swanson’s handsome Almaviva”

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