Opera News- Idomeneo
Tenor Jason Collins captured both the regal and human qualities of Idomeneo, the king tormented by his bargain with an implacable god.
Boston Theater Review- IDOMENEO
"Jason Collins as Idomeneo was the stand out voice on stage. His aria in the first act was very human and distraught, his second act mellizmatic aria looked easy as pie and beamed from low to high with perfect Tenor placement."
The Boston Music Intelligencer- IDOMENEO
" Jason Collins, still a young singer,offering a pleasingly bright Jugendlicher-Heldentenor with dynamic variety...his Idomeneo was an engaged presence."
Boston Herald - IDOMENEO
Tenor Jason Collins...also rendered Mozart’s beautiful vocal score with great skill.
Opera News Wozzeck- Philadelphia
Another guest alumnus, Jason Collins, made a laudable Drum Major: it was nice to hear the role sung not by a played-out Herodes but by a strong, bronze-toned tenor. His character emerged louche and creepy, exerting sexual dominance over every woman in the tavern.
Philadelphia- The Bulletin - Wozzeck
"The Drum Major, a flashy pretty boy and Marie’s seducer, has only a few lines but a commanding presence, and tenor Jason Collins brought a malicious edge to the role’s bravado. He sang appealingly during his conquest of Marie — a slam-bang affair with a daunting lack of vulnerability — and spat out his macho, staccato boasts before his attack on Wozzeck."
..and Collins leave bold imprints on the performance... Collins struts across the stage and fills out the Drum Major’s vocal lines with a ringing tenor.
Edge Phildelphia - Wozzeck
"Marie is living in poverty, raising a child with Wozzeck and having an affair with the brutal drum major (played with relentless bravura by Jason Collins)."
Philadelphia Inquirer- Das Lied von der Erde
"Tenor Jason Collins has sung Mahler's original, but no leather-throated vocalist is he. Rarely are those near-impossible vocal lines navigated without strain by such a fresh, lyric voice - and, in songs involving alcohol, a sense of fun."
Opera Magazine - The Flying Dutchman
"One rarely expects a heroic ring from the more lyrical Steersman, but Jason Collins' forthright, verile tone and musical sensitivity made a star turn out of this secondary role. Wadsworth's padding-out of the part to include a spat and reconciliation with his lover in Act 3 (a comic mirror of Erik's plight?) seemed a fitting extension for such vocal talent." Theodore Duncan
San Diego Arts - Beethoven's Symphony No. 9
"American tenor Jason Collins, definitely a singer to watch, dashed off his part with the astonishing ease and vigor, his clarion top notes ringing right over the orchestra’s forte. Young, tall, and striking—if this tenor takes care of his instrument, he will soon be writing his ticket at any opera house in the civilized world."
San Diego Arts
San Diego Union-Tribune -Beethoven's Symphony No. 9
"The four soloists were suitably adroit, with soprano Gorra slicing through even the thickest orchestra textures and tenor Collins the standout in terms of tone quality and spirited delivery."
Seattle GN- The Flying Dutchman
Even more exciting was the Seattle debut of tenor Jason Collins, who is from S. Carolina and was a finalist in the 2006 International Wagner Competition at McCaw Hall. He clearly loves being on the stage, shows considerable charm, and sings with confidence and impact. His tenor is bright, powerful and very attractive. I hope we see his dimpled smile on our stage again soon.
Crosscut Seattle - The Flying Dutchman
As in many performances of this opera (this may be the true curse of the Dutchman), the Steersman sounded best of all: Jason Collins in his Seattle Opera debut.
The Huffington Post- The Flying Dutchman
Jason Collins's work as the Steersman showed a sweet voice and boundless talent
Seattle Times- The Flying Dutchman
Jason Collins (a bright-voiced, lively Steersman; Collins also was a finalist in the International Wagner Competition).
Seattle Post Intelligencer- The Flying Dutchman
.... he sang with the ringing sound I remember from last summer and a quiet intensity.
Opera Canada - Il ritorno d'Ulisse in patria
"Appropriately for king of the gods, tenor Jason Collins was outstanding as Giove"
Washington Post - Salome
"Especially fine was the young tenor Jason Collins, who sang the role of Narraboth with a high, free sweetness."
Wall Street Journal
International Wagner Competition
"My vote went to the American tenor Jason Collins, first out of the box with"Ein Schwert Verhiess Mir der Vater," from "Die
Walkure." Siegmund is facing mortal combat, and from the start Mr. Collins was gloomy but thrilling, his timbre both
metallic and supple, tinted with many colors, his involvement complete. In the second half, Mr. Collins shone in the
heartfelt prayer from "Rienzi" (an early opera excluded from the canonical seven), floating the final phrase with unearthly
OC Weekly June 2006 -- Beethoven Symphony # 9
Spectacular as the ending was, though, what moved me most was the face of tenor soloist Jason Collins, who sang his part modestly and beautifully, but couldn’t contain the spread of the smile on his face as the symphony’s passion mounted. Collins’ face was itself an ode to joy and a great image by which to remember the Pacific’s history as it moves on to bigger things.
Pittsburgh Tribune-Review April 2006-- Das Lied von der Erde
The fierce anger of the first song was powerfully sung by Jason Collins, a triumphant last-minute substitution. Collins is an alumnus of the Pittsburgh Opera Center.
The Republic, Phoenix, Arizona
Jason Collins, as Erik, revealed plenty of tenor thrills.
The New York Times
"Schumann, also like Handel, chooses a tenor to narrate, and here it was the clear, hearty sound of Jason Collins, whose strategy seemed to favor flat-out enthusiasm over delicacy."
The Courier-Journal, October 2005
"Tenor Jason Collins sang Lensky with ringing confidence.."
Opera News, August 2005
"Jason Collins, with a powerful tenor and crisp diction, turned in another finely etched piece of work as the repellent Leo."
GCN New York City, August 2005
"Of the male singers––including a surprisingly indifferent James Maddalena as evil Oscar Hubbard––Jason Collins, who went completely unmentioned in The New York Times’ review, clearly was the standout, bringing clarion tenor voice and deliciously bratty acting skills to the role of Leo, the scapegrace of the Hubbard family. Constantly blowing bubblegum balloons, this young native of South Carolina really got what it was all about and made his odious character somehow deeply charming."
Opera Japonica, June 2005
"Jason Collins, also a graduate of the opera's young artist program, sang with artful phrasing while portraying Jaquino as a likely suitor for her hand."
Pittsburgh Post-gazette, February 2005
"Hardly less compelling is Jason Collins as Quint. Collins' brassy tenor has a timbre surprisingly like that of the role's creator Peter Pears, and he dominates the stage with malevolence."
Pittsburgh Tribune-Review February 2005
"Jason Collins is a formidable presence as Peter Quint."
Musicweb.uk, August 2004
“Jason Collins as Peter Quint wielded a bright tenor and a menacing, insinuating stage presence.”
Opera News, July 2004
"Jason Collins, as Narraboth, diplayed a clear, decisive voice. His suicide, ignored by Salome as she, fixated on Jochanaan, brushed past his last pleading clutch before he rolled down several palace steps, was dramatically effective"
Pittsurgh Post Gazzette, January 2004
"Of the individual arias, the highlight came from tenor Jason Collins in "Oh, I Feel Cold Inside" from Floyd's "Of Mice and Men." He's a perfect physical type for Lennie: His voice was powerful, controlled and expressive, his diction impeccable and his acting of Equity caliber."
The Tartan, November 2003
"As the Steersman, Jason Collins has the rich, bright sound normally associated with a heldentenor role- his lovely tone proves that even impossibly tough music can be made to sound easy by people with good technique."
Pittsburgh Tribune-Review, November 2003
"But tenor Jason Collins' Steersman was the standout voice among secondary roles, especially impressive because his career is just starting."
Pittsburgh Post-Gazette, November 2003
"The vocal surprise of the night was Jason Collins' Steersman whose puissant and burnished voice was amazing considering his youth.
Opera Japonica 2003
“Jason Collins was an outstanding steersman from whom many more fine performances can be expected.”
Town Topics, Princeton, NJ July 2003
“Her paramour, a Drum Major, was sung with tortuousness to match the rest of the opera by Jason Collins.”
Trenton Times, July 2003
“And where do you find a tenor who can sing the role of the Drum Major and turn a cartwheel in mid-phrase? Jason Collins can do so and not miss a beat.”
Opera Japonica, July 2003
“The Drum Major has to be a good-looking man whose physique attracts Marie. Jason Collins fulfilled these aspects of the role to perfection and sang with fine dramatic emphasis.”
The New York Times, July 2003
“Jason Collins brought showy flair to the Drum Major”
Time Off, July 2003
Extraordinary performances are given by Daniel Sutin in the title role; Marjorie Elinor Dix, as his wife; John Easterlin as the Captain; Jason Collins as the Drum Major; and Dale Travis as the doctor
The Good Soldier Schweik - Opera News, August 2002
"In Collins, the production boasted a young singer-actor who looked, sang and inhabited the title role... But all recognized that their characters served the seemingly hapless Schweik, who in Collins’s portrayal made on think that the only way to tackle a staircase is to fall up it. With a controlled vibrato, a rhythmic clarity.., and a non-stop grin that always mad quizzical sense, Collins made one wish Kurka and Hasek might have seen their hero come to life in his portrayal."
The Good Soldier Schweik - Amazon.com, May 2002
The uniformly excellent cast is led by tenor Jason Collins in the title role. He's on stage almost all the time and has the voice and the acting ability (even unseen) to make the character and his many absurd situations come alive. Collins's Schweik is the embodiment of pure innocence, and he sings with a warm, colorful timbre.
The Good Soldier Schweik - Network Chicago, May 2002
Tenor Jason Collins sings the title role with appropriate apple-cheeked innocence.
The Good Soldier Schweik - Classics Today.com, April 2002
The excellent cast features tenor Jason Collins in the title role, whose warm voice and impetuous delivery are exactly what Schweik needs.
Opera News, August 2001
“Tenor Jason Collins conveys Anatol’s ingratiating charm and sang appealingly.”
Opera News, July 2001
“In Collins, the production boasted a young singer-actor who looked, sang and inhabited the title role..
…But all recognized that their characters served the seemingly hapless Schweik, who in Collins’s portrayal made one think that the only way to tackle a staircase is to fall up it. With a controlled vibrato, a rhythmic clarity.., and a non-stop grin that always mad quizzical sense, Collins made one wish Kurka and Hasek might have seen their hero come to life in his portrayal.”
Windy City Times, April 2001
“..and with a young tenor, Jason Collins, as Schweik himself, you have the extra opportunity of watching not only the launch of a career with great potential, but also a performance of a singer-actor born to play this delightful role.”
Philadelphia Enquirer, April 2001
“…Collins applied his substantial voice to create the cynical opportunist Anatol. His singing layered insincerity with exuberance, and his voice had the power and nuance to shape the character.”
City Paper of Philadelphia, April 2001
“Jason Collins sang the role of Anatol- the son of Vanessa’s love- with complete assurance, adding a cynical edge to his characterization.”
Philadelphia Weekly, April 2001
“Jason Collins used his vibrant and nuanced tenor to create an effective young Anatol…”
Philadelphia Weekly, April 2001
“Jason Collins used his vibrant and nuanced tenor to create an effective young Anatol…”
Chicago Tribune, March 2001
“In the title role, Jason Collins perfectly catches Schweik’s amiable, dimpled innocence while his tenor projects strongly and clearly.”
Chicago Sun Times March, 2001
“In his COT debut, Jason Collins was the very image of the good soldier. With his dimples, big eyes.., he looked like Josef Lada’s famous caricature of Schweik come to life. Resisting the temptation to vamp, he trusted that his strong, dark-hued tenor, excellent enunciation and beguiling grin would tell us everything we needed to know about the hapless, or perhaps very Wiley, Schweik.”
Chicago Skyline, March 2001
“Tenor Jason Collins..-a beautiful voice- does a brilliant job as Schweik, the role that really dominates the opera: smiling beatifically and singing like an angel.”
Courier Post, December 2000
“…Jason Collins firmly voiced Nero sounds impressive. Collins doesn’t lose his musical command even when his trousers are down.”
Philadelphia Weekly, December 2000
“Of particular note was Jason Collins as Nero. His tenor voice was remarkably rich and handsome, and he captured Monteverdi’s style masterfully.”