Jason McStoots, Tenor

Reviews


For his performances of Monteverdi with Green Mountain Project
Boston tenor Jason McStoots was suave yet heartfelt in the Monteverdi motet “Currite populi, psallite timpanis”
-Jeffrey Ganz, The Boston Globe

In Currite populi,the only solo vocal piece on the program, the sweet, slightly reedy voice of tenor Jason McStoots praised John the Baptist with the excitement of a child that brought out the true elation in the music.
-Tom Schnauber, The Boston Musical Intelligencer

 Jason McStoots, whose diction is unusually good and whose voice is always a great pleasure to hear​...
Mr. McStoots sang the luscious motet for one voice (“Nigra Sum“) adapted from Songs of Songs (“I am dark, but a comely daughter of Jerusalem. Therefore the king loved me and led me into his chamber and said to me: Arise, my love and come away. . .”) “Surge” (arise) was repeated many times, passionately, with the nimble accompaniment of the two theorbos and organ. So powerfully did Mr. McStoots plead that I thought the audience would arise under his hypnotic spell.

​-Susan Miron, Arts Fuse


Jason McStoots, with closed book, was a particular joy in “Nigra sum” (“I am dark but comely”), embracing every consonant and giving sensuous point to “The king . . . led me into his chamber.” 

-Jeffrey Ganz, The Boston Globe

As Tabarco in Boston Early Music Festival's Almira by Handel
Tabarco was folly personified, generating much of the fun in this production; McStoots plays the gracious jester to the hilt. It’s a wonderful, manic acting job, and he even got to show off his alluring tenor voice. The audience adored him.
-Susan Miron, Arts Fuse 

The broad comedy is provided by Tabarco (Jason McStoots), Fernando’s servant — a gifted young tenor with wonderful comedic talents. 
-Ken Keaton, Palm Beach Daily News


As Tabarco, Fernando's servant, Jason McStoots comically punctured the pretensions of the noble characters.
-Heidi Waleson, The Wall Street Journal

​Tenor Jason McStoots delivered broadsides of over-the-top comic relief as the servant Tabarco, indulging expertly in the buffoonery so beloved by Hamburg audiences of yore and Berkshire operagoers of the present. 
-David Yearsley, counterpunch.org

​I delve deeply into this explanation to praise all the more the full involvement of tenor Jason McStoots in this demanding role.  McStoots would appear to be born to the part of playing buffo characters, so completely did he inhabit his character.  By nature Tabarco is an intrusive presence—even before the opera began we were amused and distracted by bumptious goings-on behind the still-drawn curtain.  And as it rose, we were treated to a full-on view of Tabarco’s hindquarters fully in our faces.  What better embodiment of low-humor folly than this? And McStoots would gamely maintain this intrusive nature throughout the opera.  Now all of that would be well-enough, but Tabarco is also asked to sing, and that, too, did McStoots do very well indeed, with bright, clear and fully-fledged tenor sonority.  He almost stole many a scene.
-John Ehrlich, Boston Musical Intelligencer


For his performances with Les Délices in "The Leading Man" celebrating Pierre Jélyotte
Jason McStoots wielded his lyrical but robust voice beautifully. 
Jason McStoots here, as elsewhere in the program, captured the overarching concept of French Baroque opera, that the text (as over-the-top as the emotions expressed might seem to modern ears) is of paramount importance, with gracious ornamentation emphasizing clarity of diction in conjunction with musical phrase. Ardor was the emotion here; the vocal line is florid, with trills and other ornamentation.
The highlight of the set, and Jason McStoots’s finest performance of the concert, was the heroic coloratura Ariette “Règne, Amour” (Reign, Love, let your flames shine forth). His melismas were clear, with added ornamentation, and perfect control of pitch and diction. It was a brilliant performance by a fine young artist.
​-Timothy Robson, Cleveland Classical

​“The Leading Man” wasn’t just the title of Les Delices’s season finale. It also was a pretty fair assessment of Jason McStoots, the tenor who was its centerpiece.Where the singer actually ranks in the world of early music was immaterial. Sunday afternoon, at Plymouth Church in Shaker Heights, McStoots was at the top of his game, wooing a small crowd with exquisite performances of 18th-century French opera under the direction of oboist Debra Nagy.The church truly was his. A denizen of the baroque stage, McStoots easily filled the room with a sound both rich and dulcet, commanding ears with what one suspected was one-tenth of his potential. Beyond that, he was a fine actor, rounding out heartfelt performances with meaningful gestures and facial expressions.In these respects, 
McStoots surely resembled the real-life leading man at the root of the program: tenor Pierre Jelyotte, a star of the Paris Opera in the 1740s whose voice both inspired and interpreted an entire generation of music. Singing of love out of reach and magically fulfilled, McStoots proved the consummate artist, wielding not just a sweet tone but also incredible technique and impeccable pronunciation.Lully, the greatest opera composer of his day, was represented Sunday by the first and shortest entry, a brief scene from “Amadis.” As McStoots portrayed a lovesick character hiding in the woods, his voice announced itself as a smooth, nuanced instrument one could attend all afternoon.
-Zachary Lewis, Cleveland Plain Dealer

For his performance of Bach Cantata's with The Dryden Ensemble
Tenor Jason McStoots demonstrated a lyrical and lighter sound, singing expressively with clean diction. Mr. McStoots’ aria “Woferne du den edlen Frieden,” from Cantata 41, was a complex dialog between voice and violoncello piccolo, played by Lisa Terry. In this aria the musical roles were almost reversed, with the cello taking on most of the melodic movement and the voice serving in more of an obbligato role. Mr. McStoots also provided a complementary voice to baritone Mr. Bouvier, with whom he sang a duet toward the end of Cantata 33.
-Nancy Plum, Town Topics

For his gala performance celebrating five years of the chamber opera series with BEMF

I have neglected to mention one of my favorite singers, tenor Jason McStoots, who, along with Douglas Williams, was in all five BEMF Chamber Opera Series productions. McStoots has more personality and charm than a roomful of other tenors, and he enlivens whatever production he is in.

-Susan Miron, Arts Fuse


For his performance and directing of Mozart's Abduction from the Seraglio with CEMF
...as Pedrillo, tenor Jason McStoots sang with a more lyric ease, most winning in the simple strophic charmer "In Mohrenland gefangen war." 
​-Milton Moore, The Day

I also enjoyed the performance of Jason McStoots, who clearly enjoyed the expansive role of Pedrillo; he was quite the stage creature, offering impeccable comic timing withoutclowning and an attractively unforced and clean tenor as well.  
-Opera Archives