Jonathan Estabrooks has a rustic and bronzy baritone and was able to carry the mathematically gifted yet conscientiously distraught Turing with believability and poise…Indeed, the duet that melted from her proclamation into Estabrooks uneasy restraint was the most powerful drama in the composition.
Opera Pulse, June 11, 2013
‘Set on Kona, the story has Mr. Kua, sung by baritone Jonathan Estabrooks with great conviction in a ringing, resonant big voice, alarmed by the theft of his coffee beans.’
Daily Gazette, June 8, 2013
‘ First to appear is Mr. Kua, sung exceptionally well by Jonathan Estabrooks. His first aria is pyrotechnic, reminiscent of the word painting in Handel’s “Joshua” (substitute “raging” for “trembling”).’
Albany Times Union, June 8, 2013
‘In the master class the excellent Canadian baritone Jonathan Estabrooks and the vibrant mezzo Elise Quagliata performed a scene in which Turing, who was gay, turns down a no-nonsense marriage proposal….In the read-through of the complete first act of “The Turing Project” on Thursday evening, those words glowed with intensity when Mr. Estabrooks, a gifted actor, delivered them. Sitting in the audience, Ms. Malfitano nodded with approval.’
New York Times, June 1, 2013
‘…Benjamin Covey (Marchese d’Obigny) and Jonathan Estabrooks (Barone Douphol) were entertaining and reminiscent of a fully staged show. They were extremely entertaining to watch.’
Apt 613, March 22, 2013
Mr. Dover accompanied baritone Jonathan Estabrooks and both excelled during “Fischerweise” in which the subject of the verse can catch all manner of fish, but not the shepherdess standing on the shore. “Totengraber-Weise”, the gravedigger’s song, was understandably less cheerful! Mr. Estabrooks’ fine baritone and compassionate interpretation made every song come alive.’
Voce di Meche, February 18, 2013
In “Soliloquy”, Jonathan showed impressive stamina throughout the 7.5 minute long song, which follows the character’s wondering over all the fun he could have with a son, lamenting that his child may be a girl, deciding that might not be so bad after all, and resolving to do all he can to support her! I think it’s one of the first times I haven’t been bored by the full version and the ending was just as powerful as the start.
Kelleigh’s Musical Musings, October 14, 2012
The world premiere of Savoy’s “Songs for Jack” with the excellent Estabrooks was an eloquent amalgamation of musical expression…Estabrooks sang with a robust, ringing voice that was elegantly controlled. Phrases were fluid and finished and his diction was excellent.
The Daily Gazette, September 29, 2012
Tous les sujets chantent et jouent bien, à commencer par les premiers rôles: Jonathan Estabrooks possède une belle voix de baryton
La Presse, August 16, 2012
The slowly unfolding harmonic structure was an attractive support for baritone Jonathan Estabrooks, who sang expressively with warm vocal colors.
Greenwich Time, December 7, 2011
Then there were the two supremely talented soloists, soprano Kerri Marcinko and baritone Jonathan Estabrooks, whose gifts for emotional evocation accompanied marvelous vocal presentation. The tender solo voice of baritone Estabrooks sang an elegiac melody.
Greenwich Citizen, December 7, 2011
Changing pace then, with “Trying to Figure” from “Borrowed Dust,” from Paula Haupt’s Inner Voices Solo Musicals series, Estabrooks takes what could be a sere, bleak feel and breathes warmth into this song from a through-composed project.
Q on Stage, November 14, 2011
On opening night, there was a standing ovation, with cheers for the stars and a particularly hearty response for three rising young Ottawa-area singers who did themselves proud in front of the many family members, friends and mentors who have watched their development: soprano Yannick-Muriel Noah, baritone Jonathan Estabrooks and mezzo-soprano Wallis Giunta. Baritone Jonathan Estabrooks sings the role of Nedda’s lover, Silvio. The two singers were in excellent form in their love duet on opening night.
OTTAWA CITIZEN, September 13, 2011
Il faut dire que les deux rôles seconds le sont également du point de vue de la voix, Jonathan Estabrooks en Silvio, l’amant de coeur et Antonio Figueroa, en Beppe, le comparse des saltimbanques.
LE DROIT, Gatineau. September 13, 2011
Jonathan Estabrooks’ Silvio was particularly well sung and acted.
OTTAWA CITIZEN, September 11, 2011
The theatrical game of the five singers onstage is also flawless. Baritone Jonathan Estabrooks plays sergeant Belcore as well as could be desired, chest raised, a military step and a smile in the face of every jab. Additionally, the baritone exhibits great vocal flexibility with a round voice thundering especially in its lowest register.
L’ACADIE NOUVELLE, Caraquet. November 22nd, 2010
Jonathan Estabrooks…a successful rendition….displayed a varied and convincing baritone voice.
HABAMA MAGAZINE, Tel Aviv. July 24th, 2010
‘Robert Erickson’s “Sierra,” an impressionistic work for baritone and chamber ensemble, is steeped in California, thanks to a hokey text of his own, filled with repetitive evocations of “Yosemite,” “Wawona,” “Gold,” “Devil’s Basin” and more. Jonathan Estabrooks, a robust baritone, gave his all to the solo part’.
THE NEW YORK TIMES. January 25th, 2009
‘At the top of the list stood Papageno portrayed by the energetic red-head Canadian, Jonathan Estabrooks, who was a Papageno from tip to toe, with every sound he made with his fresh voice. It was a pleasure to see him jump, fall down, get up, moan, chatter, be silent, enthusiastic or afraid, and to hear him sing in a very pleasant voice and always with obvious joy of one who knows it is a role for life’.
HABAMA MAGAZINE, Tel Aviv. July 28th, 2008
