Photo by  Web Wright

Photo by Web Wright

Messiah - The Philadelphia Orchestra

“Jonas Hacker, a recent graduate of Philadelphia’s Academy of Vocal Arts, sang the tenor solos with distinction. His well-produced voice has an almost baritonal coloring that brings out the drama in the music, without sacrificing any of the necessary lightness the part requires. His performance served as an exemplar of the high quality of our local training programs.”
-Cameron Kelsall, Broad Street Review
December 7, 2018

“Among the soloists, tenor Hacker was a marvel, with superb diction and thoughtful, even profound inflections of the text.”
-David Patrick Stearns, The Inquirer
December 7, 2018

Messiah - Columbus Symphony

“Tenor Jonas Marcel Hacker sang with calm, peaceful confidence in ‘Comfort Ye My People’…”
-Peter Tonguette, The Columbus Dispatch
November 10, 2018

Mozart Requiem - Music of the Baroque

“The tenor has the least to do of the soloists but Jonas Hacker filled his assignment in worthy and dedicated fashion.”
-Lawrence A. Johnson, Chicago Classical Review
September 16, 2018

Fellow Travelers - Lyric Opera of Chicago: Lyric Unlimited

“As Timothy, Jonas Hacker was simply terrific.  The young tenor was fully believable, progressing from an endearingly nerdy naïf to sexual maturity – while wrestling with his Catholic faith and conservative political leanings – and becoming a stronger, more self-possessed figure.  Hacker’s slender tenor handled all the demands of Spears’ vocal lines, with ardent singing in Timothy’s church confession and nailing his top notes in the ensembles with ease.”
-Lawrence A. Johnson, Chicago Classical Review
March 18, 2018

“As Timothy, Jonas Hacker powers his lucid, focused tenor as every fraught emotional situation requires, yet registers the protagonist’s inner journey with tender lyricism and poignant vulnerability.”
-John von Rhein, Chicago Tribune
March 18, 2018

“As Timmy, Jonas Hacker is ideally cast, embodying naïveté and passion equally.  His key solo scene, a confessional in church, is riveting.”
-Katherine Syer, Bachtrack
March 27, 2018

“Hacker delivered this moment of confliction and catharsis with breathtaking conviction and vocal intelligence.  He showed himself to be a singer with a real voice – literally and artistically.”
-Michael Pecak, Schmopera
March 19, 2018

Cinderella - Opera San José

“Jonas Hacker’s sweetly appealing, freely produced lyric tenor was a fine complement to his co-star, with his slight, boyishly appealing stature proving very sympathetic.”
-James Sohre, Opera Today
December 22, 2017

”…tenor Jonas Hacker’s fiery, sweet sound as the Prince.”
-Ilana Walder-Biesanz, San Francisco Classical Voice
December 19, 2017

“The Prince, Jonas Hacker, with his ringing and sincere expressive voice, with his Billy Elliot – look, convinces in his ardor and sincerity.  A Mozartian tenor… he sings his heart out once he latches onto the open-hearted young girl.”
-Lois Silverstein, OperaWire
December 25, 2017

La Straniera - Washington Concert Opera

“Jonas Hacker, another regular with WCO, was striking in the small bad-guy role of Osburgo…”
-Anne Midgette, The Washington Post
November 20, 2017

“Tenor Jonas Hacker, familiar from recent seasons at Wolf Trap Opera, was a repellent villain as Osburgo, with a range of vocal tone colors in the characterization.”
-Charles T. Downey, Washington Classical Review
November 20, 2017

Little Women - Annapolis Opera

“…Hacker’s stunning tenor pairs with a wonderful legato, filling every space in the room.  At this moment I knew that I was witnessing a production that was very special.”
-Darby DeJarnette, DC Metro Theater Arts
November 4, 2017

The Fall of the House of Usher - Wolf Trap Opera/Halcyon Stage

“Hacker… produced a character convincingly racked by anxiety and anguish.  He also delivered the most satisfying vocal moments of the evening.”
-Philip Kennicott, The Washington Post
June 18, 2017

“The singers acquitted themselves admirably.  Jonas Hacker’s tone and emotion were well suited to his portrayal of the neurasthenic Roderick… Hacker, especially, moved extremely well, in a duet with his dance alter ego Mariano ‘Nano’ Zamora.”
-Seth Arenstein, Washington Classical Review
June 18, 2017

Die Zauberflöte - The Academy of Vocal Arts

“Outstanding among them, tenor Jonas Hacker was the star in more ways than one… he’s an accomplished Mozartean tenor… Here, he was at the top of his game as The Magic Flute’s hero, Tamino.”
-Steve Cohen, Broad Street Review
May 4, 2017

“Tenor Jonas Hacker sang heroically as Tamino.”
-Michael Caruso, Chestnut Hill Local
May 5, 2017

Leonore - Washington Concert Opera

“Jonas Hacker showed an attractive tenor voice and sure musical instincts in the comic role of Jaquino...”
-Charles T. Downey, Washington Classical Review
March 6, 2017

George London Foundation Finals Concert

“A pair of arias from Gounod’s Faust provided two highlights of the concert.  Tenor Jonas Hacker sang an affecting, sincere 'Salut! demeure chaste et pure.'"
-George Grella, New York Classical Review
February 18, 2017

Our Town - Fresno Grand Opera

“…I loved the quiet intensity of the acting.  Sarah Shafer (as Emily) and Jonas Hacker (as George) have a gorgeous rapport on stage, capturing both the bloom of teenage romance and the maturity of lifelong commitment.”
-Donald Munro, The Fresno Bee
January 27, 2017

Dallas Opera's Institute for Women Conductors Concert

“Lyric tenor Jonas Hacker and soprano Kirsten MacKinnon were both impressive and would shine even brighter as the evening progressed.”
-Gregory Sullivan Isaacs, Theater Jones North Texas Performing Arts News
December 18, 2016

Washington Concert Opera 30th Anniversary Concert 

“The discovery of the evening was the young tenor Jonas Hacker... Hacker sang the tenor line of the beloved male duet from Bizet’s ‘Les pecheurs de perles’ with Arrey taking the baritone part…  Hacker has an attractive voice, a steady technique and a flair for the simple elegant line. He began with an expository, narrative approach, and the duet unfolded as effective story telling rather than mere melodic indulgence. It was a short introduction to a young singer, but one that inspires hope of great things.”
-Philip Kennicott, Art Critic for The Washington Post and contributor to Opera News
September 19, 2016

“Wisconsin-born tenor Jonas Hacker,… one of America’s most promising young singers, and Chilean baritone Javier Arrey… offered a handsome account of ‘Au fond du temple saint’ from Bizet’s Les pêcheurs de perles.  For listeners in whose esteem the recording of the duet by Jussi Björling and Rober Merrill remains the gold standard, Hacker’s and Arrey’s performance gave no reason for disappointment, the tenor’s fresh, youthful tone and bright, ringing upper register not unlike Björling’s.”
-Joseph Newsome, Voix des Arts
September 19, 2016

“Bolstering the men’s side of the equation very respectably were two younger singers in the famous duet from Bizet’s ‘Pearl Fishers’… The young tenor Jonas Hacker was sweetly earnest.”
-Anne Midgette, The Washington Post
September 19, 2016

L'Opera seria - Wolf Trap Opera

“Notable, too, was the light, smooth tenor and suave phrasing from tenor Jonas Hacker as the nerdy composer Sospiro.”
-Tim Smith, Opera News Online Exclusive
July 17, 2016

Elijah - Columbus Symphony

“Jonas Marcel Hacker’s warm, expressive delivery, especially in his aria ‘If with all your hearts,’ was a moving complement to Elijah’s confidence.”
-Lynn Green, The Columbus Dispatch
April 1, 2016

Don Giovanni - The Academy of Vocal Arts

“Jonas Hacker’s Il mio tesoro (‘My treasure’) was elegant, with an unusual combination of ringing tone and amazingly-extended phrases, such as the scale passage just before the return of the main melody’s second chorus.  In major opera houses this part has sounded anemic, or dry, or choppy compared to Hacker’s lovely rendition.”
-Steve Cohen, Broad Street Review
November 10, 2015

“Jonas Hacker ably navigated the often-badly-sung arias of Don Ottavio.”
-David Patrick Stearns,
Nov 11, 2015

Così fan tutte – Annapolis Opera

“Tenor Jonas Hacker, in the role of Ferrando, handles his duties with aplomb, notably in a disarming ‘Un’aura amorosa,’ in which he creates considerable vocal drama.”
-Mary Johnson, The Baltimore Sun
March 19, 2015