Jackson, Shelley - Soprano - Ascolta Artists

Jackson, Shelley - Soprano
Biography
                Winner of second prize at the Maria Callas Grand Prix, American soprano Shelley Jackson is
                quickly establishing herself as a rising star on the international stage. In the past season
                Shelley has earned critical praise in a number of title roles debuts across Europe: Tosca at
                Malmö Opera, Anna Bolena at the Opéra de Lausanne, and Manon at the Salzburg
                Landestheater. She also sang Tatyana in Eugene Oneginat the Buxton International Festival,
                made her Mozartean debut as Donna Anna in Don Giovanniat the Salzburg Landestheater,
                returned to the Teatro Massimo Palermo for Rossini’s Petite Messe Solonelle, and presented a
                solo recital with the Russian Chamber Arts Society in Washington DC.

In 2018 Shelley made her German debut as the title role in Anna Bolena at the Badisches Staatstheater
Karlsruhe. Other recent roles include her house and role debut as Mimì in La bohèmeat the Haus für Mozart in
Salzburg conducted by Mirga Grazinyte-Tyla, her house debut at the Teatro Massimo, Palermo as Micaëla in
Calixto Bieito’s production of Carmen, and her UK debut, also singing Micaëla, at the inaugural season at the
Grange Festival, Mimì in La bohème at Dorset Opera, a return to the Grange Festival as Mary Crawford in
Jonathan Dove’s Mansfield Park, and a concert of verismo repertoire with the Hamilton Philharmonic. She also
returned to Santa Fe Opera as the Italian Singer in Capriccio, and to cover Juliette in Roméo et Juliette.

Shelley is a recent graduate of the International Opera Studio at the Opernhaus Zürich, where she made role
debuts as Musetta in a new production of La bohèmeand Micaëla in Carmen, and the leading role of Song-Lian
in the world premiere production of Rote Laterneby Christian Jost.

Shelley made an unscheduled debut on opening night of the 2014 season at Santa Fe Opera when, as a member
of the apprentice program, she stepped in to sing the role of Norina in the new Laurent Pelly's production of
Don Pasquale, and went on to sing additional performances to high acclaim. A graduate of the prestigious
Academy of Vocal Arts in Philadelphia, performances there included Violetta in La traviata, Rosina in Il
barbiere di Siviglia, and Tatyana in Eugene Onegin. Additional roles as a student include the title roles in
Iolanta and Susannah, Adina in L’elisir d’amore, Pamina in Die Zauberflöte, and Thérèse/Tirésias in Les
mamelles de Tirésias.

Shelley has received an impressive number of honors and awards, including the Joan Sutherland Prize from the
Veronica Dunne Competition, second place Maria Callas Grand Prix in Athens, the Dorothy Lincoln Smith,
Giargiari Bel Canto and the Mario Lanza Competitions, third place in the Concours International de Chant
Marmandais, and a grant from the Licia Albanese-Puccini and Liederkranz Foundations. She holds degrees from
the Peabody Conservatory in Baltimore, Temple University Boyer College of Music, and the Academy of Vocal
Arts in Philadelphia. In addition, she spent two years of vocal study and role preparation with Mirella Freni at
Centro Universale di Bel Canto (CUBEC) in Modena, Italy, where she won the Nicolai Ghiaurov Scholarship.

Repertoire
Bellini, V.      Norma                   Norma*             Beethoven. L.van   Symphony No. 9*
Bizet, G.        Carmen                  Micaëla            Berg, A.           Sieben Frühe Lieder*
Donizetti, G.    Anna Bolena             Anna Bolena        Berlioz, H.        Les nuits d’été
Dvorak, A.       Rusalka                 Rusalka*           Britten, B.        War Requiem*
Floyd, C.        Susannah                Susannah           Dvorak, A.         Requiem*
Gounod, Ch.      Faust                   Marguerite*        Rossini, G.        Petite Messe Solenelle
Janacek, L.      Jenufa                  Jenufa*            Vivaldi, A.        Gloria
                 Katya Kabanova          Katya*
Jost, Ch.        Rote Laterne            Song-Lian
Leoncavallo, R. I pagliacci              Nedda
Massenet, J.     Manon                   Manon
Mozart, W.A.     Don Giovanni            Donna Anna
                                         Donna Elvira*
                 Idomeneo                Elettra*
Offenbach, J.    Les contes d’Hoffmann   Antonia
Puccini, G.      La bohème               Mimi
                 Madama Butterfly        Madama Butterfly
                 Tosca                   Tosca
                 Turandot                Liù
Tchaikovsky, P. Eugene Onegin            Tatyana
                 Iolanta                 Iolanta
Verdi, G.        Don Carlo               Elisabetta
                 Il trovatore            Leonora
                 La Traviata             Violetta
                 Otello                  Desdemona

* studied

Reviews
Tosca, Malmo Opera, 2020

Smuk sopran og velsmurt tenor udfolder handlingen i svulmende operathriller: Den unge amerikanske sopran
Shelley Jackson er intens som Tosca, der forsvarer sig mod den psykopatiske politichef Scarpia i Puccinis
svulmende drama…Da jeg så opsætningen mellem jul og nytår, var det med en ung amerikansk sopran, Shelley
Jackson, og danske Magnus Vigilius i hovedrollerne som henholdsvis Tosca og Cavaradossi. Der er tre sangere
på hvert af partierne igennem spilleperioden i Malmø, så oplevelsen kan være meget forskellig, men lige med
Jackson og Vigilius er det en sand fornøjelse. Jackson er en smukt klingende lyrisk sopran med et rent og kort
vibrato og kraft og teknik til at synge hen over det svulmende orkester, når dramaet kulminerer.
Young American soprano Shelley Jackson is intense as Tosca… a true pleasure…a beautifully sounding lyric
soprano with a clean and short vibrato, and the power and technique to sing across the swelling orchestra as the
drama comes to a climax.
- Politiken, Henrik Friis
https://politiken.dk/kultur/art7553669/Smuk-sopran-og-velsmurt-tenor-udfolder-handlingen-i-s-
ulmende-operathriller

Anna Bolena, Opera de Lausanne, 2019

Une diva est née à l’opéra de Lausanne: Remplaçante dans le rôle-titre de l’Anna Bolena de Donizetti, la soprano
Shelley Jackson a tout d’une grande belcantiste. Un timbre de velours, des aigus irréprochables, une virtuosité
ductile, un phrasé expressif, de même qu’une présence émouvante et envoûtante: la soprano étasunienne Shelley
Jackson, lauréate en 2017 du 40e Grand Prix international Maria Callas, a déployé, pour le plus grand plaisir du
public de la première d’Anna Bolena dimanche à l’Opéra de Lausanne, les ailes d’un talent unique.
A diva is born at the Lausanne Opera: Replacing the title role of Donizetti’s Anna Bolena, soprano Shelley
Jackson has all the makings of a great bel canto singer. A timbre of velvet, irreproachable high notes, ductile
virtuosity, expressive phrasing, and equally a touching and captivating presence.
- Le courier, Marie Alix Pleines

Anna Bolena was Shelley Jackson, whose soprano is supported by a great middle register, velvety and burnished,
which explodes in fireworks of brilliant, powerful high notes. The volume of her voice was impressive and
exciting, with a remarkable range of dynamics.
- Bachtrack, Laura Servidei

La cantatrice possède une voix assurée, homogène sur toute la tessiture, avec un grave dramatique, un médium
stable et suffisamment large, et un timbre gorgé d’harmoniques qui n’est pas sans rappeler quelques-unes de ses
illustres devancières, Leyla Gencer en tête...
She has a confident, unwavering voice over her entire range, with serious drama, a broad and stable middle, and
a timbre bursting with harmonics that is reminiscent of some of her illustrious predecessors, with Leyla Gencer
coming to mind...
- Opera Online, Emmanuel Andrieu

L’Américaine Shelley Jackson ne fléchit guère dans la dernière scène – alors qu’elle a déjà chanté deux heures,
se nourrissant d’un feu qui s’intensifie au fil de la représentation, capable de soutenir la ligne et d’investir les
imprécations avec densité.
The American Shelley Jackson hardly wavered in the final scene - even though she had already sung two hours,
feeding on a fire that intensifies throughout the performance, able to support the line and invest maledictions
with weight. The bottom of the voice may be a bit guttural, but this is a singer with a large range and roundness
of an ideal timbre - without artifice moreover - for the role. Claiming a lyrical vein with tragic aplomb, the title
role possesses extraordinary means.
- Le Temps, Julian Sykes

The cast was dominated by the superb Anna of Shelley Jackson, who was replacing… at short notice. The
American soprano had made a strong impression in the role in Karlsruhe last year and she again proved
memorable: her voice was rich and rounded across its range and her breath control, coloratura and phrasing
were exemplary. Her dazzling vocal performance was matched by powerful acting, and there were moments
where she resembled a dark haired Princess Diana.
- Opera Magazine, Nicolas Blanmont

Shelley Jackson, laureate de l’ « International Maria Callas Grand Prix » d’Athènes, en 2017, venait d’incarner
Anna Bolena à Karlsruhe..Belle allure, dignité du geste, la soprano américaine prolonge le célèbre portrait de la
souveraine.. À mesure que l’injustice s’accomplit autour de la reine imprudente, la voix de Shelley Jackson
c’éclaire pour atteindre autorité et lumière dans les dernières scènes, ou la médium et le grave parfois gutturaux
du premier acte font place sans contestation possible à la plus aérienne extase.
Shelley Jackson, laureate of the "International Maria Callas Grand Prix" of Athens, in 2017, had just sung Anna
Bolena in Karlsruhe.. With a beautiful appearance, and dignified gestures, the American soprano extends the
famous portrait of the sovereign.. As injustice unfolds around the imprudent queen, Shelley Jackson's voice
brightens to reach authority and light in the final scenes, where the sometimes guttural medium and low of the
first act give way without any doubt to the most aerial ecstasy.
- Opéra, Patrice Henriot

Manon, Salzburg Landestheater, 2018-2019

Vor allem verfügt sie über eine berückende, ja verzaubernde Sopranstimme, die in allen Lagen phantastisch
klingt, mit der sie poesievolle Verinnerlichung ebenso darstellen kann wie dramatische Verzweiflung. Dass dazu
perfekte Stimmtechnik kommt, sollte zu einer großen Karriere führen.
Above all, she possesses a captivating, indeed enthralling soprano voice, that sounds fantastic in all situations,
with which she can portray poetic introspection just as well as dramatic despair. That this joins to a perfect vocal
technique, should lead to a great career.
- Der Neue Merkur, Gottfried Kranz Kasparek

Verantwortlich dafür war vor allem die nun auch in Europa entdeckte junge US- Amerikanerin Shelley Jackson,
eine Sopranistin, die in der vergangenen Spielzeit nicht nur hier ihr Rollendebüt als „Bohème“ Mimi, sondern am
Badischen Staatstheater mit der Titelrolle von Donizettis „Anna Bolena“ auch ein erfolgreiches
Deutschlanddebüt gefeiert hatte. Als Manon vermittelte sie den Eindruck einer mit außergewöhnlichen
Stimmmitteln begabten Sängerin, die neben expressivem Vortrag mit intensivem Spiel auch Bühnenpräsenz
bietet. Eine füllige Tongebung, solide Technik und enorme Sensibilität ließen die gerade bei Massenets Manon
wichtigen Schattierungen und Vorhaben zur Geltung kommen…Als Manon vermittelte sie den Eindruck einer mit
außergewöhnlichen Stimmmitteln begabten Sängerin, die neben expressivem Vortrag mit intensivem Spiel auch
Bühnenpräsenz bietet.
As Manon, she conveyed the impression of a singer gifted with extraordinary vocal resources, who offers stage
presence alongside an expressive performance with intense acting. A rich tone, solid technique and tremendous
sensibility all allowed the significant shadings and valid intentions of Massenet's Manon to be brought out.
- Das Opernglas, W. Kutzschbach

Shelley Jackson erfüllt die Anforderungen an die Titelrolle vor allem stimmlich über Gebühr. Seit ihrem
Landestheater-Debüt als Mimì vor eineinhalb Jahren hat sich die Stimme der US-Sopranistin noch einmal
weiterentwickelt. In der Höhe zwischen silbrig schattiertem Piano und kraftvollen Spitzentönen changierend,
setzt sie die Koloraturen treffsicher. Ihr warmes Timbre lässt sie nuancenreich strömen.
Shelley Jackson vocally fulfils the requirements for the title role … Since her national theatre debut as Mimì a
year and a half ago, the voice of the US soprano has once again evolved. Moving between a silvery piano and
powerful top notes, she sets the coloratura unerringly. Her warm timbre allows her voice to flow rich in nuances.
- Salzburger Nachrichten, Florian Oberhummer

Eugene Onegin, Buxton International Festival, 2019

Never have I been so moved by this opera…The soprano Shelley Jackson’s Tatyana… wow! This is the fourth time
I’ve seen Onegin but the first in which such a spellbinding, gut-wrenching, show-stopping depiction of a woman
suddenly, madly, hopelessly and stupidly in love, has shaken me as this did.
- The Times, Matthew Parris

We were treated to a masterclass of melancholy by superb American soprano Shelley Jackson in the role of
Tatyana. The first act of Onegin is something of an endurance test for a soprano in this role, but Jackson was up
to it, never faltering and delivering in emotion and power in equal measure. She held my complete attention
throughout. Nor did she overdo it, saving her very best for the final scene where she really staked her claim as
the star of the show.
- Bachtrack, Robert Gainer

Exactly the heart a good Onegin needs… delicate and tremulous with ardour.. rich but recognisably passionate.
- The Arts Desk, Richard Bratby

The outstanding performance came from Shelley Jackson as Tatyana. She has a big, rich voice…but also a range
of expression, and a gift for acting, physically as well as vocally, which made her account of the Letter Scene
marvelously eloquent and deeply moving.
- Opera Now, Anthony Arblaster

The composer loved his heroine, and this is really Tatyana’s gig, with Buxton happily importing rising star
Shelley Jackson for the role. Hers is a big voice, commanding across the range, but one that throbs with
tenderness and, with a strong dramatic personality, she seems set for a major career.
- British Theatre Guide, Colin Davison

Anna Bolena, Badisches Staatstheater, 2018

Dass der Bericht mit der Darstellerin der Anna beginnt, ist der Titelpartie sozusagen protokollarisch geschuldet.
Es geschieht aber vor allem, weil die Begegnung mit Shelley Jackson einer Entdeckung gleichkam. In der
Bravourrolle wartete die junge amerikanische Sängerin bei ihrem Deutschland-Debüt mit einer spannenden
Glanzleistung auf. Mit brillanten, blitzsauberen Koloraturen, gestochen klarer Artikulation im Passagenwerk und
geschmeidigen, perfekt ausgeglichenen Läufen profilierte sich Jackson als Virtuosin des Belcantostils und nahm
überdies sehr für sich ein durch beseelte Soprantöne. Ein weiteres Kapitel bildete die außerordentlich
verfeinerte Musikalität der Sängerin. Ihre Phrasierungskünste, dynamischen Abstufungen, hauchzarten
Pianotöne und Zwischenfarben wiesen sie als singende Tragödin von hohem künstlerischem Rang aus.
The encounter with Shelley Jackson proved to be something of a revelation. In the bravura role the young
American soprano, making her German debut, gave a superbly exciting performance. With brilliantly immaculate
coloratura, pinpoint articulation in the passagework and fluid, perfectly even runs she proved herself a bel canto
virtuoso who could also captivate with expressive tone. What is more, her musicianship is exceptionally refined,
with phrasing, dynamic shading, featherlight soft singing and a range of nuance that marked her out as a singing
tragedienne of the highest order.
- Rheinpfalz, Gabor Halasz

In der B-Premiere stellte sich mit Shelley Jackson eine Titelheldin vor, die zu den schönsten Hoffnungen
berechtigt, und dies nicht nur weil sie stimmlich und optisch an die in Karlsruhe unvergessene Kathleen Cassello
erinnert. Eine engagierte Gestalterin mit sehr guter Technik und zudem einem Stimmvolumen.
In the B premiere, Shelley introduced herself as a title heroine who fulfilled all the highest hopes, and not just
because vocally and visually she is reminiscent of Kathleen Cassello, unforgotten in Karlsruhe. An engaged artist
with a very good technique and moreover a voice of a volume.
- Badische Neueste Nachrichten

Shelley Jacksons klarer, leicht dunkel getönter Sopran erweist sich trotz üppigen Stimmvolumens mit natürlich
eingebundenen Tiefen als jederzeit flexibel für das Spinnen feiner lyrischer und mit Koloratur durchsetzter
Phasen. Die Fiorituren wirken nie exaltiert und erhöhen unter Nutzung der eigenen Möglichkeiten noch den Reiz
der musikalischen Ausgestaltung. In Verbindung mit ihrer großen schlanken und attraktiven Gestalt rundet sich
Portrait in entsprechenden Roben zu königlicher Würde.
Shelley Jackson's clear, slightly dark-toned soprano proves to be flexible at all times, despite her lush volume of
voice and naturally integrated low register, for spinning elegant lyric phrases interwoven with coloratura. The
fioratura never seems exaggerated, but moreover enhances the appeal of the musical design by their use. In
combination with her tall, slim and attractive figure, in the appropriate robes she cuts a portrait of queenly
dignity.
- Online Merker, Udo Klebes

La bohème, Dorset Opera, 2018

Shelley Jackson was a captivating Mimì, a delicate and charming presence which became deeply moving in the
third act. Vocally, she showed well-integrated registers with a beguilingly full lower voice and secure top notes.
It’s a nicely sized voice, but there’s a flair for nimble pianissimo which was sensibly deployed. The Stage (George
Hall) Leading the cast is Shelley Jackson, whose refulgent soprano imprints Mimi on the audience’s collective
memory.
- Bachtrack, Dominic Lowe

Carmen, Grange Festival, 2017

Shelley Jackson is indeed a force to be reckoned with in this role, with a big, juicy lyric soprano that conveys
wholesomeness and sensuality at the same time.
- Bachtrack, Katherine Cooper

Dressed like a Madonna in soft blue, Shelley Jackson sings with moving tenderness as she woos Don José.
- The Times, Rebecca Franks

Mansfield, Grange Festival, 2017

The galvanising gleam on her tone was worthy of a prima donna.
- Opéra, Yehuda Shapiro

La bohème, Haus für Mozart, 2017

Dennoch sind die Hauptrollen ideal besetzt. Jacksons klarer und leicht dunkler Sopran paßt hervorragend zur
gezeichneten Mimi.
Jackson's clear and slightly dark soprano fits perfectly with the drawn Mimi.
- Tiroler Tageszeitung

Mit den Solisten hatte das Salzburger Landestheater diesmal viel Glück: Sopranistin Shelley Jackson aus
Baltimore überzeugte als schwindsüchtige Mimì... Ein verdienter Erfolg für das Landestheater.
With the soloists the Salzburg Landestheater was very lucky this time: soprano Shelley Jackson from Baltimore
convinced as a consumptive Mimì... A deserved success for the Landestheater.
- Bayerischer Rundfunk, Peter Jungblut

Dabei macht er vieles richtig. Wie auch das ausgesprochen feinsinnig besetzte Ensemble, allen voran die mit tief
gehender Dramatik ausgestattete Shelley Jackson als Mimì...

And he does many things well. As also does the extremely sensitive ensemble, above all Shelley Jackson, gifted
with a profound dramatic sense, as Mimì…
- Süddeutsche Zeitung, Rita Argauer

Competizione dell'Opera, Bolshoi Theater, 2016

Невозможно пройти и мимо арии Недды «Qual fiamma avea nel guardo» из «Паяцев» Леонкавалло в
прочтении американки Шелли Джексон. Ее пение, само по себе прекрасное, манкое, выразительное,
отличала необыкновенная вокальная свобода (качество, при всей техничности и красоте голосов,
присущее далеко не всем из участников) – состояние, когда певец поет, «как дышит», когда уже
совершенно нет внимания слушателей к каким-то вокальным сложностям и тому как именно певец их
будет преодолевать. Это уже та грань и степень мастерства, которая позволяет заниматься искусством как
таковым – без оглядок на технические вопросы, вольно и эмоционально насыщенно.
It is impossible not to pay attention to the American singer Shelley Jackson, who was singing Nedda's "Qual
fiamma avea nel guardo". Her singing is beautiful, expressive, and has a lot of freedom. She also has a very good
quality of voice, not a given among all. Altogether, it is singing as if singing is only breathing. When you listen to
her you forget about all the technical difficulties and you don't wonder about how she will overcome them, you
just enjoy her musicality. This is an example of the beginning edge of the masterpiece where you are just
creating art and music without looking back at the technical issues- with passion, freedom, and joy.
- Orpheus Radio, Russian State TV and Radio Center, Alexander Matusevich

Rote Laterne, Opernhaus Zürich, 2015

Die Sopranistin Shelley Jackson aus dem Internationalen Opernstudio singt die Song-Lian klar, hell und
leuchtend, selbst in der Katastrophe. Wie der Lichtkegel einer Taschenlampe tastet sie mit ihrer Stimme die
Weltschwärze des Dramas ab.
The soprano Shelley Jackson from the International Opera Studio sings Song-Lian, clear, bright and brilliant,
even herself in catastrophe. Her voice shines like the bulb in a flashlight searching through the drama’s
overwhelming darkness.
- Tages-Anzeiger, Tom Hellat

Shelley Jackson steigert sich auf imponierende Art: ein ergiebiger Sopran von größter Strahlkraft.
Shelley Jackson grew throughout in an impressive manner: a sizable soprano of the utmost radiance.
- Badische Zeitung/Opernwelt, Heinz W. Koch

Dans le role phare de Song-Lian, présente de bout en bout, la jeune Américaine Shelley Jackson offre un jeu
d'une justesse enthousiasmante et d'une force inouïe. De plus, son soprano se révèle solide, puissant mais sans
dureté, alors que le souffle est d'une longueur surprenante.
In the principal role of Song- Lian, onstage from start to finish, the young American Shelley Jackson offers a
balance of exciting sureness and incredible force. Moreover, her soprano reveals itself to be solid, powerful
without hardness, and her breath control is surprisingly long.
- Opéra Magazine, Éric Pousaz

Die Sopranistin Shelley Jackson meistert diese Anforderungen stimmlich und darstellerisch mit beklemmender
und berührender Intensität. Ihr apartes Timbre wird von Szene zu Szene selbstbewusster und dramatischer,
ohne je die sichere Gesangslinie zu verlassen.
The soprano Shelley Jackson masters these requirements vocally and dramatically with oppressive and touching
intensity. Her distinctive timbre becomes from scene to scene more self-confident and dramatic, without ever
straying from the sung legato line.
- Oper Aktuell, Kaspar Sannemann

Der lyrische Sopran von Shelley Jackson ist geradezu geschaffen für diese Rolle. Textverständlich artikulierend,

sicher in den Wechseln zwischen den Stimmlagen. Verzweifelt aufbegehrend und aufschreiend gegen die
Traumbilder der Ängste und die klaustrophobischen Phantasien, moduliert sie ihre Stimmungen. Ihr
Stimmumfang reicht vom verhalten klingenden Diskant bis zu tremolierenden Koloraturen.
The lyric soprano Shelley Jackson is simply perfect for this role. Articulating understandable text, secure in the
changes in register. Desperately rebellious and crying out against the fearful dream visions and the
claustrophobic ghosts, she modulates her vocal moods. Her vocal range reaches from restrained sounding
descants to tremulous coloraturas.
- Opernnetz, Peter E. Rytz

Shelley Jackson, Nachwuchssängerin aus dem Internationalen Opernstudio (IOS) der Oper Zürich, gibt der Song-
Lian mit ihrem hellen, in der Höhe ausdrucksvoll aufblühenden… Sopran viel Emphase und zudem eine
lupenreine Intonation mit ins Bühnenleben.
Shelley Jackson, young singer from the International Opera Studio in Zürich, gives Song- Lian much emphasis
with her bright soprano, in the high powerfully blooming… and also moreover a flawless intonation with her
character’s stage life.
- Deutsche Bühne, Detlef Brandenburg

Die junge Shelley Jackson als gespaltene Song Lian, verzweifelt, verloren, stimmgewaltig. Gerade solche dichten
und lichten Momente machen diese Oper zwiespältig.
The young Shelley Jackson was the broken Song-Lian, desperate, lost, with a powerful voice.
- Bayerische Rundfunk, Florian Hauser)

Shelley Jackson erzielt große Wirkung mit ihrem lyrischer Sopran, wenn sie in einer Wahntraumszene mit der
Aufzeichnung ihrer eigenen Stimme, die durch die Lautsprecherboxen des Saales wandert, Zwiegesang hält.
Shelley Jackson scored a big impact with her lyric soprano, when in a delusional dream she sings a duet with her
own recorded voice that wanders throughout the loudspeakers in the hall.
- Frankfurter Allgemeine Zeitung, Jan Brachmann

La bohème, Opernhaus Zürich, 2015

Jackson's voice sparkled with a diamond like brilliance in Quando m'en vo'. In Act IV, as she tells of Mimi's
collapse and later offers a prayer, her singing brought a tear to the eye.
- Seen and Heard International, Rick Perdian

Shelley Jackson's conniving Musetta was entirely lovable for her distinctive ‘chutzpah’ and her convincing acting
skills – as seductress, wily operator, and finally, compassionate friend to the consumptive Mimì.
- Bachtrack, Sarah Batschelet

Don Pasquale, Santa Fe Opera, 2014

It must have been a magical night for young singer Shelley Jackson... this second-year apprentice stepped into
the role of Norina opening “Don Pasquale” with barely a few days’ notice. Indeed, she exploded into the spotlight
of the Santa Fe Opera last Saturday night, bringing a sparkling freshness both vocally and theatrically to a
standard role of bel canto opera.
- Albuquerque Journal, D.S. Crafts

On Tuesday, Norina was beautifully sung by a spirited, big-voiced member of the apprentice program, soprano
Shelley Jackson.
- St. Louis Post Dispatch, Sarah Bryan Miller
Both Jackson’s Norina and Nelson’s Malatesta were world-class performances, worthy of any operatic stage...
Jackson’s unscheduled debut created a sensation with the Santa Fe Opera audience who applauded her with
enthusiasm and gave her (and her colleagues) a heartfelt standing ovation. Even if Jackson sings only this

opening night of the production, the impact of her Santa Fe Opera debut on her career is likely to be
considerable.

- Opera Warhorses