Possessing a voice that is being recognized for its vast power and beauty, dramatic tenor Jason Wickson is emerging as one of the next leading tenors in the U.S.
Highlights of Mr Wickson’s career include Florestan Fidelio with Michigan Opera Theatre; Pollione Norma with Baltimore Concert Opera; Don José Carmen with Piedmont Opera; Canio Pagliacci with the Festival Lyrique international de Belle-Île en Mer; Dick Johnson La fanciulla del West with Mobile Opera; Calaf Turandot with Shreveport Opera; Narraboth Salome with Opera Hong Kong; Macduff Macbeth with Chautauqua Opera, Opera Delaware and Opera in the Heights, Houston; and Erik Der fliegende Holländer with Opera Carolina, Piedmont Opera and at the Princeton Festival. At the Glyndebourne Festival, he has covered Walther von Stolzing Die Meistersinger von Nürnberg and Bacchus Ariadne auf Naxos.
Mr Wickson participated in various apprentice programs, such as the Santa Fe Opera Apprentice Program for Singers, the Palm Beach Opera Resident Artist program, and Michigan Opera Theatre's Joyce Cohn Young Artist Program. He is a graduate of Indiana University's Jacobs School of Music, and a recipient of both the Stanley Hollingsworth grant and the Olga Forrai Foundation.
Recent engagements have included Beethoven Symphony No. 9 with the New Haven Symphony Orchestra, Howard Goodall’s Eternal Light: A Requiem with the Yakima Symphony Chorus; and the title role in Siegfried (Act 3) with Queen City Chamber Opera.
Current engagements include Britten’s The Holy Sonnets of John Donne for Mid-Columbia Mastersingers, Haydn’s Nelson Mass with the Yakima Symphony Orchestra, Kodály’s Psalmus Hungaricus with The Juneau Symphon and Verdi’s Requiem at Detroit Orchestra Hall, as well as his debut at Oper Wuppertal as Paul Die tote Stadt.
Please note that this biography is not to be used for programmes. Current information is available on request.
Florestan: Fidelio / Michigan Opera Theatre
“…Jason Wickson, whose commanding voice had heroic sweep to it…”
Don José: Carmen / Piedmont Opera
“The demanding role of Don José was sung by tenor Jason Wickson whose lovely big voice covered all the demands of the part, being easily heard at all times.”
CVNC (Classical Voice of North Carolina)
Canio: Pagliacci / Festival Lyrique international de Belle-Île en Mer
“Making a brilliant French debut, we discover Jason Wickson, a remarkable young American tenor, obviously destined for the great roles of Verdi and Wagner. His stunning “Ah ridi Pagliaccio” was unforgettable.”
Dick Johnson: La Fanciulla del West
"Jason Wickson as Johnson is as gentlemanly as a bandit can be. And he definitely lets his guard down for Minnie. When he looks death in the face at the end of the opera, he valiantly accepts it without begging for mercy or cowering in any way. His powerful, pure tenor voice becomes grave and heroic as he prepares for what looks like the end of his life and love. It's quite a change from the sweet, romantic tone in his scenes with Minnie."
Mobile Press Register
Narraboth: Salome / Opera Hong Kong
“The vocal line-up was impressive. The whole cast sang Strauss’ formidable score with powerful resonance, and Jason Wickson fired up the opening with command as Narraboth…”
South China Morning Post
Macduff: Macbeth / Opera in the Heights, Houston
“Jason Wickson, as Macduff, understood his role as a benevolent character who’s responsible for the kingdom’s absolution. This young tenor’s delivery cut through thick and loud scoring such that a ray of impassioned sunshine foretold the corrupt couple’s karma…”
Houston Culture Map
Erik: Der fliegende Holländer / Opera Carolina
"A revelation among the cast was the Erik of Jason Wickson. Possessing a tenor of unusual power and clarity, he was able to fashion Senta's would-be lover into a figure of both strength and pathos — an admirable accomplishment."
Erik: Der fliegende Holländer / Princeton Festival
“Best was another tenor, Jason Wickson, as a passionate, bronze-toned Erik. With his hapless love for Senta, Erik seems ridiculous in many productions, but Mr Wickson gave him affecting seriousness."
New York Times
"Most impressive vocally was Senta’s suitor Erik, sung by Jason Wickson, with a full, honey-toned tenor that soared over the orchestra."