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As Tristan in Boston Lyric Opera's The Love Potion
by Frank Martin: "Leading a company cast without weak links, Jon Jurgens made for an ardent, wretching Tristan." David Allen, The New York Times "Jon Jurgens was an anguished, guilt-ridden Tristan." Heidi Waleson, The Wall Street Journal "Tenor Jon Jurgens as Tristan... stood out from the ensemble, giving performances that were lovely, passionate and clear." Kalen Ratzlaff, Opera News "Jon Jurgens's Tristan...was ardent and sang with supple ease." Angelo Mao, Boston Classical Review As Tristan, tenor Jon Jurgens sang with ardency and passion. This role – and staging – put Jurgens through his paces as a dramatic actor and singer perhaps more than some. He acquitted himself well, ably expressing the character’s vulnerability and humanity, ultimately revealing a sympathetic Tristan, one torn between his loyalty to his King and his illicit love for Isolt. Jonathan Blumhofer, The Arts Fuse
Tenor Jon Jurgens was asked to be ardent (but never uncontrolled), angry, self-despising, resolved, and every emotion was clearly delineated, the many colors of his voice deployed expertly. Brian Schuth, The Boston Musical Intelligencer
Both Tristan and Isolt are superb, although Tristan is the leading role by far, and tenor Jon Jurgens emerges from it a star; his persona is more that of a common man than a noble (which is as it should be), but the voice is supple, ardent and airborne, able to float to glowing heights and then simply hang there. Thomas Garvy, The Hub Review
As Tristan, Jon Jurgens, sang with a tenor that showed dramatic and dynamic range. When he is separated from Isolt the Fair, he sings a powerfully dramatic soliloquy that riveted the attention. When dying from the poison, his voice grows frail. As he gives up the ghost, he sings the phrase, “Isolt, my love” three times like a whisper, each time fainter. David Bonetti, Berkshire Fine Arts
As Curley in Sarasota Opera's Of Mice and Men:
"Jon Jurgens was suitably despicable as the wife-abusing Curley." John Fleming, Opera News "Jon Jurgens... brought fiery intensity and a sense of danger to Curley, her jealous, hot-tempered spouse." Lawrence A. Johnson, South Florida Classical Review As Steuerman in Sarasota Opera's Der fliegende Holländer: "Jon Jurgens delivered the Steersman’s song with an attractive youthful tenor." Lawrence A. Johnson, South Florida Classical Review "Jon Jurgens’ pleasing tenor gave the Steersman a youthful innocence..." Roy C. Dicks, Classical Voice North America "The tuneful goods are left in the able hands of studio artist Jon Jurgens." Gayle Williams, Herald Tribune As Fenton in Chautauqua Opera's Falstaff: "Jurgens, with a firm, pleasing tenor, did well with his often trickily scored part..." David Shengold, The Chautauquan Daily As Ruggero in Prelude to Performance's La rondine: "The surprise discovery of Puccini's La Rondine was Jonathan Jurgens as Ruggero. His affable, all-American demeanor belies an open-throated Italianate tenor with a full, easy top, focused middle and real lyric bloom. His singing in the final scene was thrilling..." Joanne Sydney Lessner, Opera News Concert Reviews: La donna è mobile” has always been a showstopper, but if ever a big punch were being telegraphed, it was this one, from the moment tenor Jon Jurgens strutted onstage, his tie undone and tuxedo jacket slung over his shoulder. Jurgens has the lecherous smirk of a natural rake. He is, in other words, the embodiment of the cocksure Duke of Mantua and he brought the swag with a Rat-Pack nonchalance. John Chacona, The Chautauquan Daily
Next up, tenor Jon Jurgens sang Questa o quella from Rigoletto. Before he started, I arrogantly informed my concert mate that this aria is for real so this guy better not be messing around. Jurgens proceeded to make me and Verdi his--ahem--bitches. He was not messing around. Julie-Anne Hamula, San Diego Reader
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