Press

SINGING

 

Rigoletto, Rigoletto

"Baritone Jonathan Stinson, taking on the title role, wrings every last drop of

emotion from the fate of the wretched Rigoletto, his initial confidence shaken

by Monterone’s curse, and forever after haunted by premonitions of disaster.

--North West End (UK) 

Schicchi, Gianni Schicchi

 "The title role was strongly sung by baritone Jonathan Stinson in this performance, who

convincingly portrayed the machismo and selfish bravado of the main character." 

--www.KCMetropolis.org

Joseph de Rocher, Dead Man Walking

"Jonathan Stinson as De Rocher maintained the perfect balance between

tough-guy façade and the inner mortal, sensitive and fearful."

--The Boston Music Intelligencer ​

Slim, Of Mice and Men

"Jonathan Stinson, acting with grace and realism, produced some laser high notes of his

own, subtly restraining his voice for an intense, sensitive singing of Slim's Act II aria." 

--Opera News Online

Peter, Hänsel und Gretel

“…Jonathan Stinson's Father tra-la-la-ing with all appropriate ringing gusto.

                                                           

--Louisville Courier-Journal

Count Almaviva, Le nozze di Figaro

"Jonathan Stinson portrays the Count compellingly."

                                   

--Petoskey News-Review

Barone Douphol, La traviata

"Jonathan Stinson's impressive Baron Douphol..."

--Courier Post (NJ)

COMPOSING

The March: A Civil Rights Opera Project

"In the final opera excerpt, Emmitt Till, who was lynched in Money, Mississippi in 1955, appears as a

ghost during the African American leaders meeting. In a stunning aria entitled “March For Me,”

Tenor Anthony McGlaun was accompanied by clarinetist Cory Tiffin playing what will become

an alto saxophone part in the finished score. This was the musical highlight of the

evening for us and its deep emotional expression brought tears to our eyes."

--www.icareif youlisten.com (arts blog)

“Six Songs on the Poetry of Goethe”

“I was able to work on a song cycle with Jonathan, his "Six Songs on the Poetry of Goethe,” and the process

of selecting the poetry, learning the music, and discovering his compositional language and what he

wanted to say through the music was an exhilarating experience. The music is complex and never

easy to sight-read, but after the work of learning the notes, I quickly fell in love with the rich 

harmonies, beautiful melodies, and complex (and sometimes surprising) harmonic language.”

--Julie Wyma, soprano and stage director

Knightly News

“Chicago Opera Playhouse just returned from our Central Illinois tour of Knightly News. We

did five shows in three days (Jan. 24-26). One 6th grade student at Quest Charter Academy

said that this was the best day of his life and he asked if we could do the performance at

their school the very next day…. Saturday!"

--Linden Christ, Artistic Director of Chicago Opera Playhouse

The Three Bears

“This music is accessible to the average listener, yet still complicated enough to be fulfilling for a more seasoned

performer. I found this opera easy and enjoyable to stage. Stinson is one of those rare composers who

writes music that is both easy to stage (providing many musical moments that lend themselves to

particular actions or emotions), yet doesn't force a director into one particular choice. I felt free to

implement my own creativity, yet never felt like I had to create action that was lacking in the music.”

--Julie Wyma, soprano and stage director

"Goldilocks and the Three Bears [is] a fun-filled children’s opera that is loaded with laughs! Jonathan

Stinson’s adaptation of the classic tale is complete with mistaken identities, a chase through the

audience, and a chance for all the kids in the audience to participate."

--Charles Martinez, founder, Reach Out Kansas Opera Outreach