- REVIEWS -
OPERA SOUTHWEST
The Albuquerque Journal - 2008
“John Pickle made an effective partner as Tosca's lover, the painter Cavaradossi. Along with a pleasingly confident stage presence, he exhibited a vocal sureness that kept expanding. He gave an eloquent reading of Cavaradossi's brief third-act aria, "E lucevan le stelle," as he writes a last note to Tosca.”
The Albuquerque Journal - 2006
“Tenor John Pickle, a late addition to the cast, delivers a persuasively swaggering Benjamin Franklin Pinkerton. In his chest-thumping oration in the first act, Dovunque al mondo (Throughout the world) he succinctly elucidates an American arrogance toward other cultures, unfortunately more than relevant today. The world is his stomping ground and all its inhabitants, regardless of their quaint habits and customs, his for the taking. Pickle and Song combine nicely in the sensuous love duet which concludes the first act.”
NEVADA OPERA
Nevada Events – 2005
“As Valencienne’s much younger man, Camille de Rosillion, tenor John Pickle sings and acts with a passion that befits a young man’s more intense physical needs. Simply put, he’s all over Valencienne and sings fabulously while he’s at it. In a day when standing ovations are passed around freely, this one was for real and earned.”
TEATRO GRATTACIELO
The New York Times – 2004
“John Pickle, as Gabriello, had a liquid tenor…”
Theater Scene - 2004
“Pickle's star turn came not as Gabriello, but as the unnamed singer of a soft serenade, primarily mandolin-accompanied, with the feeling of Mozart's Don Giovanni's "Deh vieni alla finestra" or a Neapolitan song.”
CENTER CITY OPERA THEATER
Philadelphia City Paper - 2004
“John Pickle, in the role of the cad Duke of Mantua, is possessed of a rich and ringing tenor voice.”
SALT MARSH OPERA
The Journal - 2003
“John Pickle’s Ferrando portrayed confused energetic earnestness with an attractive clear, sunny tenor voice.”
Marketplace - 2003
“They all come through in different ways, but Nicholson and Pickle have perhaps the strongest voices in the cast and the most commanding parts. Pickle, a tenor, sings with a beautiful lyric voice, perfect for the most passionate parts, and his comedic touch sets him apart – particularly during a prancing aria in which he has to float for a moment like a butterfly.”
TOLEDO OPERA
Opera News
“John Pickle's Pirelli showed one of the strongest voices of the night. His preening and cape-tossing were a delight -- it seemed a pity his character is killed off so quickly.”
OHIO LIGHT OPERA
The Plain Dealer
“…Pickle’s tenor is so mellifluous that we are captivated whenever he lets his voice out.”
“…Pickle plays O’Day with stalwart vitality and uses his vibrant tenor to marvelous effect.”
“John Pickle brings a ringing tenor and endearing arrogance to the role…”
American Record Guide
“…Pickle uses his hearty tenor voice to fine effect.”
“…Pickle is a strong and winning hero…”
The Daily Record
“…Pickle also helps to infuse the musical proceedings with passionate intensity…”
“…prowess was matched by the crystal tenor of second-season performer John Pickle, who as the lovesick Alfred makes a fine comedian without sacrificing one measure of vocal integrity. Even his offstage acapella stabs at a variety of operatic standards is superb.”
“…his voice is unquestionably strong and attractive.”
The Beacon Journal
“He met the challenge with surprising maturity, nailing the top notes and displaying the ability to vary his tone quality from full and robust to a light, lyrical pianissimo when required.”
“Pickle showed a real flair for the over-the-top enthusiasm of this character, and an impressive vocal stamina let him put across the role with panache.”
“The role of Schubert lay beautifully in John Pickle’s range, and his vibrant tone hinted at the ardor that Schubert was unable to express.”
“Pickle’s sweet ardent tone and soaring line made him well suited to the role.”
The Morning Journal
“…John Pickle plays royalty with confidence and charisma, and his appearance here as the Duke was true to form – at ease with the music, comfortable with the character’s smug, self satisfaction. He manages to be both regal and laughable.”
The Repository
“…Pavarotti was parodied to perfection by John Pickle as Alfred, and his voice is basically a dead ringer, too.”
The Alliance Review
“…John Pickle pours out his glorious, seamless tenor in one melody after another, an inexhaustible supply.”
