Acclaim

“The audience found its treat in a young, fresh-faced baritone named Jonathan Beyer. The 27-year-old appeared natural, plowing through an ambitious program. Beyer’s voice is big and virile. He produced tones evenly throughout the registers, showing no strain when pushing high and loud. An affinity for Russian songs stood out in Rimsky-Korsakov’s ‘Ripening Cornfield,’ with its gently winding melody, and Beyer’s attentive phrasing and coloration. Beyer has the luxury of a robust, handsome voice, and promising years ahead.” – Washington Post

“…baritone Jonathan Beyer, who sang Trinity Moses in a robust voice but made every word a living presence.” – The New York Times

“Perhaps most impressive of all was Mr. Beyer’s brash Escamillo…[he] found his character’s swagger, delivering one of the better interpretations we’ve heard in recent years.” – Washington Times

“Baritone Jonathan Beyer (Papageno) was the substantial voice that carried the piece. He brought proportion and context to difficult writing and maturity to his stagecraft. His Papageno was a model of articulation, but also of nuanced singing. An able comedian, he was musically arresting and brightly funny, his timing in both boosting the opera’s impact.” – Broad Street Review, Philadelphia

“The most interesting performance was that of the American Verdian Baritone Jonathan Beyer. He is truly headed for a major international career. He is the Verdi baritone America has been waiting for. His interpretation of Rodrigo was moving and beautiful.” – Gazzetta di Parma

“Vocally and dramatically, the standout performance was by baritone Jonathan Beyer as Papageno, who brought a mixture of childlike delight, impatience and befuddlement to the role. Totally at ease with his physical and vocal self, Beyer has a rounded, sure baritone voice and excellent diction. He did particularly well with the spoken dialogue in an amusing contemporary translation.” – OperaNow

“Early on, baritone soloist Jonathan Beyer expressed some of [Carmina Burana’s] more poignant music. Later, he sang softly, with otherworldly tenderness.” – The Advocate

“…Jonathan Beyer’s pleasant voice projected a real sense of personality.” – Star Telegram (Fort Worth)

“Baritone Jonathan Beyer used his rich and pliable voice deftly, both rhythmically and lyrically, leaving a distinct emotional impact.” – The Times Argus

“Jonathan Beyer showed a firm baritone with ring at the top, and was unexpectedly tender and lovelorn when [Carmina Burana] required it.” – The Erie Times

“Jonathan Beyer’s Ali (Haly) was remarkably polished and his aria ‘Le Femmine d’Italia’ on target.” – The Pittsburgh Post-Gazette

“Best of the singers was Jonathan Beyer, as Dr. Malatesta…Already a polished vocalist, Beyer sang his familiar ‘Bella siccome’ aria with an even scale and admirable legato, then projected voice and personality with strength in the group scenes. The fast double-voiced patter of the Pasquale-Malatesta duet was a high point.” – Pittsburgh Post-Gazette

“The rest of the ensemble made lively contributions, with Jonathan Beyer standing out for his sturdy, dynamic singing as Schaunard.” – The Baltimore Sun

“Jonathan Beyer was a powerful, dark Trinity Moses.” – Berkshire Review

“Jonathan Beyer, as a larger than life Trinity Moses, was impressive.” – Opera News

“Jonathan Beyer used his supple baritone to appealing effect…” – Opera News

“American Jonathan Beyer impressed with his vocal acrobatics and his broad repertoire.” – Die Glocke

“Jonathan Beyer (a 24-year-old from Curtis) was, I thought, was the most musical of the group, with a firm and seemingly-innate sense of how to shape a phrase and show character. The sound was the most consistent and pleasing. He performed his two pieces so as to make one sit up and listen.” – Maury D’Annato, Metropolitan Opera National Council Finals Concert

“Baritone Jonathan Beyer offered a telling contribution to the opera. He voiced his certifiably macho sorceress well and without undo camp.” – City Paper, Philadelphia

“Beyer’s baritone in the aria ‘Mighty Lord and King so glorious,’ was quite distinguished and well controlled. His Vaughn Williams was lovely and beautifully wrought throughout.” –Nuovo, Indy’s Alternative Voice

“Jonathan Beyer, as the Steward, was handsome with a voice to match his looks.” – Pittsburgh Post Gazette

“Jonathan Beyer looked like Fabio and sang with power and dignity.” – Pittsburgh Post Gazette

“Jonathan Beyer, portraying Germont, was quite convincing and beautifully balanced the complexities of the Act Two duet and the emotions portrayed with the power of his own instrument.” – The Chautauquan Daily

“Jonathan Beyer’s Papageno had stage personality to burn, a real gift.” – City Paper

“Jonathan Beyer was persuasive both vocally and in earnest characterization as Lorenzo.” – Pittsburgh Tribune

“Jonathan Beyer’s sweet-toned baritone as Lorenzo was an asset.” – Pittsburgh Post Gazette

“Jonathan Beyer’s sweet, tenorish Yamadori was spectacularly costumed and genuinely princely.” – Opera News

“Jonathan Beyer and Alex Richardson were generally deft in their roles as Trinity Moses and Fatty the Bookkeeper respectively.” – The Boston Globe

“The American, Jonathan Beyer, mustered up some easy-going charm and a pleasing sound for his excerpt from ‘I Puritani.’” – Kreiszetiung

“Jonathan Beyer would be an asset to the German opera scene.” – Die Nord Deutsche