Press

 

Articles

Reviews

"Lucas de Jong was fine as Giorgio (Germont), especially so in the Act 2 confrontation with his son, Alfredo." Peter Donnelly, Hobart 'Mercury', May 2009


"Soprano Lisa Harper-Brown and baritone Lucas de Jong took the solo lines in the Vaughn-Williams cantata [Dona Nobis Pacem], that reaches its finest moments in the setting of Whitman's Dirge for Two Veterans, accomplished with impressive power by the combined choral and instrumental forces. De Jong worked with considerable character through the Reconciliation and The Angel of Death movements; Harper-Brown showed her sympathy with the work in a considered, stately approach and her voice's sound-colour had clear resonances with this style of British occasional music." Clive O'Connell, The Age, April 27 2004


"Lucas de Jong makes a charismatic Consul with natural vocal authority"

(Madama Butterfly, OA 2003) John Slavin, The AGE, 28 April 2003

 

"Baritone Lucas de Jong, with his attractively dark and dramatic timbre, set the mood with the prologue to Leoncavallo's I Pagliacci."

(Opera in the Market 2001) John Slavin, The AGE, Melbourne 14th February 2001.

 

"Aided considerably by the splendidly credible presence of Lucas de Jong in the role of Silvio, the testorsterone-intensive affair between the handsome young villager and Nedda unfolded as credibly in physical seduction terms as it did musically, with plenty of passion in his singing as well as that of Jennifer McGregor's Nedda"

(Pagliacci, OA 2002) David Gyger, Opera-Opera 2002

 

"Lucas de Jong is a highly credible Herod."

(Herodiade, Anna Livia International Opera Festival) Pat O'Kelly, Irish Independant, 17th June 2000.

 

"The fluently powerful Herod of Lucas de Jong."

(Herodiade, Anna Livia International Opera Festival) Michael Durvan, Irish Times, 19th June 2000.

 

"The Australian baritone Lucas de Jong, in the title role as the Don, gave a suitably suave performance as the seducer par excellence. With his beautifully produced voice and fine stage presence, he still managed to maintain a distinct feeling of evil about the character."

(Don Giovanni, Opera Brava) Laurence Carcas, West Sussex County Times, July 1999.

 

"The singing was of high quality, particularly from Lucas de Jong as the infamous Don Giovanni."

(Don Giovanni, Opera Brava) Don Cullimare, West Sussex Gazette, 17th June, 1999

 

"Lucas de Jong was excellent as Figaro."

(Opera Gala, Clonter Opera) Natalie Anglesey, The Stage and Television Today, December 10, 1998

 

"Impressive Australian baritone Lucas de Jong, as Enrico, has the potential to develope into a fine Verdian baritone."

(Lucia di Lammermoor, European Chamber Opera) Richard Fawkes, Opera Now, Nov/Dec 1998

 

"Lucas de Jong as Papageno gave an enjoyable, richly comic performance. His arias and his duet with Pamina are welcome highlights."

(The Magic Flute, Mid-Wales Opera tour) Kevin Berry, The Stage, 8th October 1998

 

"As Marcello, baritone Lucas de Jong was outstanding, anchoring the opera in strong fashion."

(La Bomème, European Chamber Opera) Paul Thomas, Windsor and Eton Express, 22nd Jan 1998

 

"de Jong brings to Onegin a voice range that is excellent. He has a rich baritone voice that, at times, rendered a first rate lower register. He is also a talented actor and brought authority, insight and superb haughtiness to the role."

(Eugene Onegin for Holland Park Opera) James Hunt, The Southern Cross (London) 1997

 

"Lucas de Jong as Don Giovanni acted his role to perfection."

(Don Giovanni for Opera Atelier, National Arts Centre, Ottawa) Richard Todd, Ottawa Citizen June 27, 1997

 

"Lucas de Jong was a youthfully agreeable Giovanni."

(Don Giovanni for Opera Atelier, Toronto) Peter Dyson, OPERA, March 1997 (p300)

 

"Making his North American debut as the irresistible title cad, Australian baritone Lucas de Jong was a devil-may-care charm. Women who already have reason to hate horny men may find him hateful."

(Don Giovanni for Opera Atelier) Wilder Penfield lll, Toronto Sun (Canada) October 26, 1996

 

"This Don Giovanni ... comes to life with great vitality and presence thanks to baritone, Lucas de Jong."

(Don Giovanni for Opera Atelier) M. Dispenza, Rivista (Canada) 1 November 1996

 

"Lucas de Jong as Frédéric came into his own singing powerfully."

(Lakmé for Victoria State Opera) Jim Davidson, The Age (Australia) 17th July 1996

 

"Lucas de Jong produced a rounded, expressive sound and was at his best in high register. His relaxed confidence made him an engaging performer."

(Opera Gala Plus, Southern Ireland) Martin Adams, Irish Times 10th October 1995

 

Lucas de Jong is technically an excellent baritone, with a maturity of voice not always apparent in singers in their early thirties."

(Opera Gala Plus, Southern Ireland) Declan Hassett, Cork Examiner 2nd October 1995

 

"Lucas de Jong's impressive Zurga ... burst upon me with particular impact: strongly sung and convincingly characterised. He looks good, moves well and sings with a rock-solid baritone of exemplary quality."

(The Pearl Fishers for Victoria State Opera) David Gyger, Opera Australasia (Australia) September 1995

 

"Lucas de Jong gave a creditable performance as the Count"

(The Marriage of Figaro at Glyndebourne) Roger Covell, Sydney Morning Herald (Australia), 2 August 1994

 

"The Australian Lucas de Jong shaped a nice legato for 'Pura siccome un angelo'"

(La traviata - Opera Studio Showcase) Noël Goodwin, OPERA, August 1994

 

"Young Australian Lucas de Jong brought firm tone and Italianate warmth to Germont (this showing should win him a deserved leg-up)."

(La traviata - Opera Studio Showcase) Rodney Milnes, The Times, Thursday May 26 1994

 

"The toreador Escamillo was powerfully performed by Lucas de Jong, who sings with verve and authority."

(Carmen for Opera South) Eastliegh & South Hants Weekly News, 3 November 1993

 

"Lucas de Jong displayed a maturity and gravity in stage presence as Ping."

(Turandot for Anglia Polytechnic University, Cambridge) Graeme Feggetter, OPERA May 1993

 

"Lucas de Jong as the suave Doctor Falke maintained a high quality of both singing and acting."

(Die Fledermaus for Surrey Opera) Geoffrey Kemp, Words and Music Sep/Oct 1992

 

"Lucas de Jong produced some fine open toned singing as Coppelius and Dapertutto. He has a commanding personality on stage."

(The Tales of Hoffman for Chelmsford Opera) Peter Andrews, Chelmsford Weekly News, 18th June 1992

 

"Lucas de Jong, showing the villainous streak as Coppelius and Dapertutto, gave a first class performance with breath control such that has not always been in evidence in Covent Garden performances."

(The Tales of Hoffman for Chelmsford Opera) Eric Smart, NODA Eastern Area News Bulletin, August 1992