Albert Herring / Theater Lübeck 2023
“With his flexible tenor, Frederick Jones dominates in the title role, a compelling study of a conservative boy who suddenly finds a life.”
HL Live
“Frederick Jones chosen for the demanding role title role, wonderfully showing the development from the frightened milk boy to the crosser of lines, both playfully and with his clear tenor, totally at ease in the high register. His facial expressions allow a deep look into the soul of this insecure boy, who eventually has had enough of the controlled confinement.”
Klassik-begeistert
“Above the rest of the cast rises Frederick Jones as the downtrodden son, mastering with bravura his difficult role both as actor and singer.”
Lübecker Nachrichten
Laurie: Little Women / Opera Holland Park 2022
“Frederick Jones’ Laurie was clear, ardent and more than capable of turning up the decibels when wanted.”
Bachtrack
“Laurie, is given real pathos by Frederick Jones, torn by the rejection of the childhood friend whom he once loved as a playmate and rare intellectual equal and now intends to love as a woman.”
Broadway World
“…memorably sung by the tenor Frederick Jones (Laurie)…”
Opera
Tom Rakewell: The Rake’s Progress / Glyndebourne On Tour
“Frederick Jones, the most technically secure Tom I’ve ever heard…”
The Arts Desk
“Frederick Jones seemed born to sing Rakewell, so far did his fine singing and acting make it difficult to recall a more persuasive interpretation.”
Bachtrack
“In a role he has already sung for British Youth Opera, tenor Frederick Jones is unimpeachable as Tom Rakewell…”
Classical Source
“In Frederick Jones we have a fine lyric tenor of technical control negotiating complex decorated lines with assurance, and who showed his true mettle in the graveyard scene.”
Opera
“Frederick Jones’s relaxed, warm tenor, which has lyricism and strength at the top, gives Tom a lovely confidence and optimism – as in the opening scene when he guilelessly believes his dreams will come true, and later, when Shadow’s bread-making machine seems to offer him an opportunity to right wrongs and do good. This rake reflects little and acts fasts, with impetuous hopefulness. Both Tom’s weary resignation in the face of Baba’s hysterical porcelain smashing – he offers up the final plate with a stoic shrug – and his agonising regret in the graveyard scene are convincing and conjure our sympathy.”
Opera Today
“…the cast is outstanding, with Frederick Jones playing Tom Rakewell as a good-natured naïf, and singing with purity and sweetness…”
The Spectator
“Frederick Jones…winsome, keenly sung…”
The Sunday Times
“Frederick Jones’ robust and agile tenor is splendidly fitted for the angular vocal lines and foolish actions of the ‘shuttle-headed’ Tom Rakewell…”
The Times
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…”
Opera
Handel: Messiah / New Zealand Symphony Orchestra
“The tenor Frederick Jones had perfect enunciation and a pleasingly unforced power…”
Dominion Post
“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.”
Middle C
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.”
Bachtrack
“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.”
Opera
“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.”
Opera Today
“The tenor Frederick Jones was terrifically good, singing with warmth, openness and incisive diction.”
The Times
