Jonathan Hodel
Hoffmann - Offenbach, Les contes d'Hoffmann
Opera in the Heights, 2010
“Jonathan Hodel unleashed a robust tenor in the title role - perhaps a bit taxed in the upper reaches in some early moments but warming into a persuasive and authoritative performance, ranging from devil-may-care to world-weary."
Everett Evans, Houston Chronicle
September, 2010
Riccardo - Verdi, Un Ballo in Maschera
Opera in the Heights, 2010
"Tenor Jonathan Hodel proves why he is an Opera in the Heights favorite with his stunning vocals and winning portrayal of the role of Riccardo...The Arias Hodel and Hoiseth share in Act II leave us breathless and in awe."
The Critics Critic, Houston Chronicle Online
February, 2010
Luigi - Puccini, Il Tabarro
Opera in the Heights, 2009
"Jonathan Hodel as Luigi displays a wonderfully controlled tenor voice that makes us soar with his love for Georgetta."
The Critics Critic, Houston Chronicle Online
October, 2009
Canio - Leoncavallo, I Pagliacci
Opera in the Heights, 2009
"Jonathan Hodel's Canio gets to play the opposite of his Luigi in Il Tabarro and becomes the murderer in Pagliacci. His strong and assured tenor gives us one of Leoncavallo's most famous arias in spades, amidst much applause and bravos."
The Critics Critic, Houston Chronicle Online
October, 2009
Pollione - Bellini, Norma
South Florida Opera, 2007
"Hodel, a Denver native, played the womanizing Pollione. But he also gave the Roman a heart and soul as well as courage and strength."
Sharon McDaniel, Palm Beach Post
June, 2007
"Hodel was superb in his tenor role of Pollione. This is another very difficult role to handle. He is both the hero and, until the very end, the villain. His voice matched that of the two sopranos, carrying the story along while singing a very arduous part."
Leonard Wechsler, Royal Palm Beach Town Crier
June, 2007
Verdi Requiem
Sacramento Choral Society, 2007
"Jonathan Hodel's powerful and dramatic tenor resonated through the auditorium."
Jeffrey Springman, American River Messenger
March, 2007
"Tenor Jonathan Hodel added a restrained and classy approach to his singing."
Edward Ortiz, The Sacramento Bee
March, 2007
Pinkerton - Verdi, Madama Butterfly
Asheville Lyric Opera, 2006
"Pinkerton's role was masterfully handled by tenor Jonathan Hodel, who ran the gamut in emotion from the ecstasy of his love scenes with Butterfly, to his anguish at learning the scandal he had left in his wake."
Timothy E. Guenther, Mansfield News Journal
April, 2006
Don Jose - Bizet, Carmen
Asheville Lyric Opera, 2005
"Tenor Jonathan Hodel (Don Jose) gave a satisfying portrayal of the jealousies that torment Carmen's lover and thus make inevitable her violent death at his hands. His voice is big, and his chest tones, which he can carry high into the top register, allow him to bring great vocal power to a characterization that allows an audience to feel Don Jose's increasing anguish."
Martha A. Fawbush, Asheville Citizen Times
January 31, 2005
Rodolfo - Puccini, La Bohème
Asheville Lyric Opera, 2004
"Rodolfo (Jonathan Hodel) shows he is well on the way to becoming a world-class dramatic tenor. His role demands superb vocal technique and an instrument that never tires. From his first scene with Mimi, with the high tessitura of his vocal lines and the climactic high C, through the final scene when he must express passionate grief, he had the voice and star quality that delights opera audiences."
Martha A. Fawbush, Asheville Citizen Times
February 1, 2004
Manrico - Verdi, Il Trovatore
Comagnia d'Opera Italiana di Milano, 2003
"Der Troubadour Manrico hatte in Jonathan Hodel einen betont lyrischen, schön stimmlichen Interpreten, der sich in der berühmten Stretta des sechsten Bildes zum wahren Heldentenor emporsatig."
Werra Rumaschau, Antiquariatloch
October, 2003
Manrico - Verdi, Il Trovatore
Comagnia d'Opera Italiana di Milano, 2003
“Bei den männlichen Darstellern überragte Jonathan Hodel in der Rolle des Manrico mit voluminösem Klang, der anfangs mit leicht rauer Stimme zu kämpfen hatte, sich zum Ende hin jedoch enorm steigern konnte.”
Kulturbüro Stadt Lünen
October, 2003
Manrico - Verdi, Il Trovatore
Opera San José, 2003
"Jonathan Hodel outdid himself in this demanding leading male role."
Mort Levine, The Milpitas Post
February, 2003
Saint Nicolas - Britten, Saint Nicolas
Schola Cantorum, 2002
"Featured in the major singing role was Jonathan Hodel, currently the leading tenor with Opera San Jose, and he did an impeccable job with a rather demanding score. His intonation and expression left nothing more to be desired."
Keith Kreiman, San Mateo City Times
December, 2002
Faust - Gounod, Faust
Opera San José, 2002
"Jonathan Hodel...delivers a well-wrought interpretation of Faust's famed garden aria, 'Salut! demeure chaste et pure.'"
Michael J. Vaughn, Metro Silicon Valley
November 14-20, 2002
Des Grieux - Massenet, Manon
Opera San José, 2002
"'Manon on opening night was one of the very best productions by Opera San José that I have seen in the seven years I have been here. The singing was glorious. Jonathan Hodel was the best I have seen and heard him."
Kate Curry, San Jose Mercury News, feedback column
February, 2002
Fenton - Verdi, Falstaff
Opera San José, 2001
"But all ends happily even including the uniting of two young lovers, Nanetta and Fenton, sung well by Sandra Rubalcava and Jonathan Hodel."
Mort Levine, Milpitas Post
September 21, 2001
"...the gossipy Dame Quickly stands out among the supporting roles. Also standouts are Constantinos Yianoudes as the cuckold target Ford...and Jonathan Hodel as Fenton, a suitor to the Fords' daughter, singing "Dal labbro il canto estasiato vola."
Colin Seymour, San Jose Mercury News
September 10, 2001
"Jonathan Hodel's tenor may not have had the ideal lyricism and sweetness for the role of Fenton, but he compensated with convincing, impetuous ardor in his quest for Nanetta's affections and her father's approval."
Kelly Snyder, ConcertoNet.com: The Classical Music Network
September, 2001
Rodolfo - Puccini, La Bohème
Opera San José, 2001
"...particularly in the love arias and duet, Hodel (Rodolfo) begins to bless us with his full and heartfelt voice. His splendid way of being fully present in character and projecting a deep emotional power moves his audience. True feeling reaches from his heart to mine. It is easy to believe that he is a poet falling in love...He certainly earned the enthusiastic and prolonged applause at the end of Act I, not solely due to Puccini's magnificent music."
Elaine Funchess-Jones, Register-Pajaronian
April 19, 2001
"Jonathan Hodel can bring passionate, tender honesty to his roles, as he did to Rodolfo, the poet who finds his muse in Mimi. His voice is becoming fuller and more expansive as time goes on."
Sarah Bobson, Milpitis Post
April 23, 2001
Duke of Mantua - Verdi, Rigoletto
Opera San José, 2001
"The tom-catting Duke of Mantua has to be convincing enough, in posing as an earnest student as he seduces the daughter, to make her subsequent faith persuasive, and Jonathan Hodel is so convincing that he seems like a different actor entirely than the cad we met in the opening scene. He gets the girls and all the lovely tenor arias. Later, he performs the well-worn 'La Donna è Mobile' winningly."
Colin Seymour, San Jose Mercury News
February 6, 2001
Lenski - Tchaikovsky, Eugene Onegin
Opera San José, 2000
"Hodel, who debuted last year with OSJ, seems to have matured in voice and stage presence. In Act 2, before the duel, he gave a touching performance as he bid farewell to life"
Sara Bobson, Oakland Tribune
September 19, 2000
