British born New Zealand tenor Frederick Jones completed the Opera Course of the Guildhall School of Music studying under John Evans.
He completed a Master of Arts in Advanced Vocal Studies with Distinction in 2016 at the Wales International Academy of Voice, studying with Dennis O’Neill, attended the 2016 Lisa Gasteen National Opera Studio, the 2017 Georg Solti Accademia di Bel Canto, was a 2019 Jerwood Young Artist with Glyndebourne Festival Opera and completed his studies during 2019 / 2020 at the National Opera Studio.
His studies at the NOS were supported by a Young Artist Development Award from the Glyndebourne New Generation Programme. He is also a 2019 recipient of a Help Musicians K Sybil Tutton Award, a 2019 Independent Opera Voice Fellowship, and has been sponsored by The Todd Family Trust, the Tait Memorial Trust and the John and Margaret Hunn Educational Trust. Competition success includes First Prize in both the Wellington Dame Malvina Major Foundation Aria Competition and the New Zealand Aria Competition.
His future engagements include Tom Rakewell The Rake’s Progress for Glyndebourne On Tour, Garden’s Magic with New Zealand Opera and Messiah with the New Zealand Symphony Orchestra.
Please note that this biography is not to be used for programmes. Current information is available on request.
Lysander: A Midsummer Night’s Dream / Guildhall School of Music and Drama
“Italianate-sounding Jones, the Lysander, is surely heading for Verdi and Puccini…”
The Arts Desk
“Frederick Jones was an earnestly ardent Lysander…”
Handel: Messiah / New Zealand Symphony Orchestra
“The tenor Frederick Jones had perfect enunciation and a pleasingly unforced power…”
“Tenor Frederick Jones properly caught our attention in the opening “Comfort ye,” the voice having a real “ring,” compelling our interest further with the growing urgency of his message…investing every phrase with meaning, declaiming, and then reassuring as the text required.”
Tom Rakewell: The Rake’s Progress / British Youth Opera
“The cast is led by Frederick Jones as Tom, whose clarion tenor scythed through his notes from opening duet to “death’s approaching wing”, incipient wastrel and insanity all believable and well characterised. His diction proved to be the clearest and his attempt, when questioned, to define love was a touching moment.”
“Frederick Jones projected Tom’s vocal lines with ease and confidence, giving him a sort of rumpled charm and making much of his character’s laziness and was profoundly moving in his final scene. His voice, while nicely lyric, had a good ping to it.”
“Tom’s reflections on his love for Anne and his fears for the future bloomed warmly and the challenges of the complex lines proved no problem for the tenor.”
“The tenor Frederick Jones was terrifically good, singing with warmth, openness and incisive diction.”