LAWRENCE JONES
TENOR
Tom Rakewell in The Rake's Progress
Reviews
BACH: Easter Oratorio | American Classical Orchestra (2022)
"Floating on that cloud of dreamy recorders, Lawrence Jones’s clear but substantial tenor as Peter carried easily, as he imagined how blessed the sleep of death would be when he was wrapped in the shroud of Jesus." - New York Classical Review
"Karloski's and Jones's arias feature the woodwinds. All were performed superlatively." - Blogcritics
JANÁČEK: Amarus | Chorus pro Musica & Metropolitan Chorale (2019)
"tenor Lawrence Jones, sang with tremendous commitment and intensity of his agony and yearning for death—always sweetly but holding nothing back. Janacek penned a particularly poignant and mysterious moment in the interactions of tenor with oboe and harp."
- Boston Musical Intelligencer
MONTEVERDI: Vespers of 1610 | Voices of Ascension (2018)
"Mello was joined by tenors Lawrence Jones and Timothy Hodges for the Concerto Duo Seraphim; when all three men sang together, “et hi tres unum sunt,” the confluence of their voices, at once clear and expansive, symbolizing Isaiah’s prophecy of the Trinity, was gorgeous."
- TheaterScene.net
HANDEL: Messiah | Saint Thomas Choir and New York Baroque Incorporated (2017)
"Lawrence Jones was an impressive tenor" - The New York Times
"Of the soloists, I particularly enjoyed...tenor Lawrence Jones's light-voiced lyricism" - Broadway World
MENDELSSOHN: Christus | Back Bay Chorale and Orchestra (2017)
"In Part II on the Trial and Passion of Christ, the excellent tenor Lawrence Jones took on the roles of both traditional narrator and Pilate, with the chorus as discordant and finally repentant crowd...Jones’s high, clear delivery maintained its calm in opposition to increasingly impassioned outbursts from the crowd, recalling similar scenes in Bach’s Passions."
- Boston Musical Intelligencer
STRADELLA: San Giovanni Battista | Haymarket Opera, Valletta International Baroque Festival (2017)
"Lawrence Jones was a reliable Counselor, and added his own urging to dealing with The Saint." - Times of Malta
HANDEL: The Lord is My Light | American Classical Orchestra (2015)
"The concert opened with the tenth of George Frideric Handel’s Chandos Anthems, The Lord is My Light. This sunny, spacious piece was performed with openhearted elegance and loveliness; soloists Lawrence Jones and Lianne Coble sang splendidly."
- TheaterScene.net
PÄRT: Passio | Boston Modern Orchestra Project (2012)
"The solo quartet has the most to do, and soprano Margot Rood, tenor Lawrence Jones, countertenor Martin Near, and bass Paul Guttry did heroically." - The Boston Globe
STRAVINSKY: The Rake's Progress | Princeton Festival (2011)
"The young tenor Lawrence Jones brought a light, sweet voice and lyricism to Tom...he had the right earnestness for this gullible slacker, who is convinced that pluck alone will be rewarded by good fortune." - The New York Times
"Jones emerged as fully fleshed out and tenderhearted throughout Tom's subsequent travails, transcending the one-dimensionality of which Rake's characters are sometimes accused. His "Love, too frequently betrayed," sung in Mother Goose's brothel, was captivating, leaving the audience far more sympathetic to Jones's Rakewell than they would likely have been to the shallow lunkhead often portrayed. Jones was equally good later, in his London apartment, singing about how empty and superficial city life is...His remorse in the graveyard scene, accompanied by Stanley Fink's dead-on harpsichord-playing, was plaintive and entreating, and the child-like simplicity of his madness in the asylum was gripping." - Opera News Magazine
"Lawrence Jones as Tom Rakewell...displayed impressive technique, singing lyrically even when the vocal writing grew angular or awkward. - The Star-Ledger
"The character was well embodied by Lawrence Jones, whose light, clear, limpid tenor was ideal for the role." - CentralJersey.com
STRAVINSKY: Pulcinella | Utah Symphony (2011)
"The Utah Symphony's soloists — mezzo-soprano Deborah Domanski, tenor Lawrence Jones and bass Jeffrey Tucker — all sang with attractive tone and charming characterization." - The Salt Lake Tribune
STRAUSS: Ariadne auf Naxos | Tanglewood (2010)
"While these harmonic delights proceed, the highest tenor in the pack, Brighella, sings a florid descant, 'Doch wie wir tanzen, doch wie wir singen.' It’s a moment of sinful pleasure" - Berkshire-Hudson Arts
MONTEVERDI: Vespers of 1610 | Boston Baroque (2010)
“At the words "Tre sunt" (There are three), a third admirably stylish and clear tenor, Lawrence Jones, joined in from the concert platform to create a triangulation of three similar but distinctly characterful voices.” - Opera News Magazine
MOZART: Bastien and Bastienne | Boston Baroque (2010)
"Soprano Kristen Watson and tenor Lawrence Jones, two stylish, light-voiced singers, sang the leading roles with pleasing tone and excellent diction" - The Boston Globe
"Lawrence Jones very effectively conveys the character’s utter sincerity — even naïveté — with sunny face and pure tone. When Colas informs Bastien that Bastienne has left him behind, one feels momentary sympathy for Bastien (even in this comic context) as his face clouds over with confusion and dismay."- Boston Musical Intelligencer
PUCCINI: Madama Butterfly | Opera Saratoga (2009)
“Particularly notable was Lawrence Jones, the rare Goro who emitted attractive, well-phrased legato sounds all afternoon and rendered his extensive stage business with unobtrusive grace.” - Opera News Magazine
WILLIAM SHIELD: The Poor Soldier | The New Old American Company (2009)
"Tenor Lawrence Jones as Dermot was fresh and appealing" - The Daily Gazette (Schenectady, NY)
ELLIOTT CARTER: What Next? | Tanglewood (2006)
“Tenor Lawrence Jones was both amusing and disturbing as the phony guru Zen.” - The Boston Globe
“a strong Mahlerian tenor” - Music & Vision Magazine
STRAVINSKY: The Rake's Progress | Aldeburgh Festival (2006)
“Tenor Lawrence Jones is a smooth-voiced Tom, and his first-act aria, lamenting the loss of love, is especially affecting. His performance grows in stature over the course of the show, culminating in the scene where he defeats his nemesis, Daniel Grice’s Mephistophelean Nick Shadow.”
- The Guardian