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.
Tom Huizenga - Washington Post
Vocal Arts Society Recital - Kennedy Center Terrace Theater
Jonathan Beyer had a fresh voice, beautiful timbre, and impressive extension. He has mastered his famous aria and stole every scene.
La Gazzetta del Mezzogiorno - Nicola Sbisa
Barbiere di Siviglia - Teatro Petruzzelli
Jonathan Beyer’s Enrico was to the manner born. His physical lines had the perfect asymmetry, his gait traced beautiful curves onto the stage, his posture was aristocratic without being arrogant, and his singing was so technically masterful that one never was never pulled out of the enjoyment of it to wonder how challenging the notes were on the page.
Oliver Camacho – Vocal Arts Chicago
L’Isola Disabitata – Haymarket Opera
Jonathan Beyer as Dandini packs a punch. His voice’s beautiful timbre, comic timing, and physical ease ensures a very bright future for this young American.
Brigitte Cormier - Forum Opera
La Cenerentola- Lyrique-en-mer
As Ping, the ringleader of the three, Jonathan Beyer is luxury casting. His virile baritone is of star quality and he has an impressive presence on the stage. Hearing him as Ping paves the way for his eagerly anticipated appearance in Mendelssohn’s Elijah with the Fort Worth Symphony next season.
Gregory Sullivan Isaacs - Theater Jones
Turandot - Dallas Opera
Jonathan Beyer brings his rich baritone voice and a slightly sinister swagger to Count Almaviva, a skirt-chasing hypocrite.
Jeff Davis - Broadway World
Le Nozze di Figaro - Austin Lyric Opera
Jonathan Beyer, an exemplary Dr. Malatesta, was equal to his role. At twenty-seven, his baritone sound is still lyrical but it has a real core. His rendering of "Bella siccome un angelo" showcased his pure vowels and seamless legato. When fast patter was called for in the Act II finale or the Act III duet with Pasquale, he articulated clearly without losing pitch.
Robert Croan - Opera News
Don Pasquale - Pittsburgh Opera
Jonathan Beyer brought a firm, virile baritone and dashing stage presence to Guglielmo.
Lawrence Budman – Miami Herald
Cosi Fan Tutte – Florida Grand Opera
Jonathan Beyer’s sardonic Falke was distinguished with a welcome dose of heft in the middle register.
Thomas Ketterson - Opera News
Die Fledermaus – Florentine Opera
Some performers were excellent at this, like the baritone Jonathan Beyer, who sang Trinity Moses in a robust voice but made every word a living presence.
Anthony Tommasini - New York Times
The Rise and Fall of Mahagonny - Tanglewood Music Center
Most impressive of all was Mr. Beyer’s brash Escamillo. He found his character’s swagger, delivering one of the best interpretations we’ve heard in recent years.
Terry Ponick - Washington Times
Carmen - Lorin Maazel and the Castleton Festival Orchestra
“Beyer’s characterization of President Richard Nixon was the afternoon’s finest dramatic singing. Beyer plied the song’s repeated words with forward-flowing momentum and captured the opera’s momentous grandeur.”
Chris Shull - Star-Telegram
McCammon Voice Competition - Fort Worth Opera
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.
Diana Burgwyn - OperaNow
Die Zauberflöte - Curtis Opera Theater
A standout, American baritone Jonathan Beyer’s gorgeous timbre and beautiful tone—even an appealing falsetto—left one longing to see him deploy them with acting skills on the opera stage.
Richard Carter – The Examiner
Carmina Burana –New Jersey Symphony