Le Nozze di Figaro, Michigan Opera Theater

The Detroit News (2011)

“ …the vocal star was baritone Jason Hardy, whose effortless singing as Figaro complemented his assured stage presence. Hardy cuts a tall, lanky figure but also one of almost balletic grace. He's also quite sure of himself vocally, imbuing aria upon aria with a uniform smoothness and luster that only enhances his witty delivery.”

Cosi fan Tutte, Atlanta Opera

artscriticatl.com (2011)

“Bass Jason Hardy was a commanding Don Alfonso. His dark voice and dignified bearing brought a serious tone to the role, yet he handled the comic demands with dispatch.”

Le Nozze di Figaro, Madison Opera

The Capital Times (2010)

“Bass Jason Hardy's Figaro captivates from his first aria…an expressive performer.”

Le Nozze di Figaro, Opera Omaha

Omaha World-Herald (2010)

“Jason Hardy sang with a voice like black velvet ––equally dark and soft. Yet his dark instrument was also remarkably flexible…”

Le Nozze di Figaro, Opera Birmingham

The Birmingham News (2010)

“Jason Hardy was commanding in the title role, his full-throated bass demanding attention from the opera's first words to the well-known arias.”

Don Giovanni, New York City Opera

New York Post (2010)

"Hardy's intense bass elevated the sidekick to tragic hero"

Don Giovanni, New York City Opera

Classical Source (2010)

“Jason Hardy (Leporello) sings with such supple, expressive firmness. Hardy makes the Don’s servant a sympathetically awkward, gangly figure, and Alden makes good use of the baritone’s gift for slapstick comedy.”

Don Giovanni, New York City Opera

New York Magazine (2010)

“… a musically assured and physically alert ensemble…Jason Hardy pits his fine aristocratic voice against Leporello’s cringing-bumpkin mannerisms.”

Don Giovanni, New York City Opera

The New Yorker (2010)

“a rugged Leporello”

Don Giovanni, New York City Opera

Opera Britannia (2010)

“Jason Hardy was a an effective Leporello… and portrayed the servant alternatively with a certain Frank Gorshin-like quality reminiscent of Wait Until Dark, and as an ingratiating Smegal from The Lord of the Rings.”

Don Giovanni, New York City Opera

Bloomberg (2010)

“the cast was outstanding, young, attractive and in splendid voice… Jason Hardy (was) a nimble, charming Leporello, who got a big hand when he balanced a chair on his chin.”

Elixir of Love, Bar Harbor Music Festival

The Bar Harbor Times (2009)

“And then there’s the wonderful Jason Hardy, who… used his terrific instrument to sound unctuous and wheedling… to accomplish this he used his sinuous body language and suggestive facial expressions… Hardy made a perfectly sleazy, yet charismatic 'snake oil' salesman.”

Don Giovanni, Cincinnati Chamber Orchestra

Cincinnati Enquirer (2009)

"As Leporello, Hardy brought wonderful dimension to his character, at times more devilish than his master. His singing shone, and his acting nearly stole the show.”

Don Giovanni, Cincinnati Chamber Orchestra

Music in Cincinnati (2009)

“Jason Hardy as Leporello was the conflicted, comedic everyman who despises the cruel master upon whom he depends, wielding his hefty bass with remarkable flexibility… Any scene in which Hardy appeared, so vivid was his characterization of the trapped Leporello.”

La bohème, Nashville Opera

The Tennessean (2009)

“A moment to remember came with Hardy’s poignant final act performance of “Vecchia zimarra”… His rich bass voice and his compassionate characterization were a privilege to hear and see.”

Don Giovanni, Baltimore Concert Opera

Baltimore Sun (2009)

“Jason Hardy, as Leporello, was another plus… the bass sang with a solid, warm tone and put a very engaging spin on his lines.”

Semele, Florentine Opera

Opera News (2009)

“Jason Hardy’s dual assignment as Cadmus and the wiped-out-but-randy Somnus was sung with a wealth of velvety-smooth bass resonance.”

Le nozze di Figaro, Opera Cleveland

Opera News (2008)

“Figaro was the tall, lithe bass Jason Hardy, who ably made every nuance of his music clear to the audience with voice, face and body. Hardy and Maureen McKay... made a dynamic, winning pair.”

Le nozze di Figaro, Opera Cleveland

Cleveland Plain Dealer (2008)

“Some of the voices do Mozart high justice… Jason Hardy turns in a Figaro of charismatic allure, with an elegant basso.”

Les Noces, Los Angeles Philharmonic

Los Angeles Times (2008)

“…very good.”

Barber of Seville, Opera Birmingham

The Birmingham News (2008)

“Jason Hardy's hearty bass boomed threateningly as Rosina's music teacher, Basilio.”

Don Giovanni, Orlando Opera

Orlando Sun Sentinel (2007)

"As the Don's hapless servant Leporello, Jason Hardy offered comic relief, both vocally and physically. His first-act "Catalog Aria," in which he enumerates the Don's many conquests to an unbelieving Donna Elvira, elicited chuckles from the audience as the number mounted. Even more effective was some second-act business, in which the Don and Leporello exchanged cloaks and the Don then coached his unwilling servant in wooing the unsuspecting Donna Elvira. Hardy and Edelmann were a perfect comic team."

La Bohème, Berkshire Opera

The Advocate (2007)

“Jason Hardy as the philosopher Colline, was outstanding. He has a flair for physical comedy and bass voice that could melt butter. In his fourth act aria, Vecchia Zimarra, in which he says a reluctant farewell to the coat he is willing to sell to aid the recovery of a dying Mimi, he was touching and nearly stopped the show in its tracks. A call of "Bravo!" was appropriate and it rang through the auditorium. His program bio indicates that he will sing Leporello in Don Giovanni soon, but quite frankly his style, his extraordinary good looks and his voice make him a perfect choice for the Don himself.”

La Bohème, Berkshire Opera

Curtain up.com (2007)

“Hardy is delightfully agile and has a beautiful booming voice.”

La Bohème, Berkshire Opera

Berkshire Eagle (2007)

“Among the other men, Jason Hardy, in his debut with the company as Colline, the philosopher, displayed a handsome bass. His farewell to the overcoat he sacrificed for Mimi's medicine, "Vecchia zimarra," is graceful and moving.”

La Bohème, Berkshire Opera

Times Union (2007)

“...bass Jason Hardy, as Colline, gave a fine weight and gravity to that always-curious aria about the old coat.”

La Bohème, Berkshire Opera

WBRK Radio (2007)

“Jason Hardy uses his beautiful and vibrant voice to moving effect as Colline.”

Così fan Tutte, Connecticut Opera

Hartford Courant (2007)

“…bass Jason Hardy and struck just the right balance between low and high comedy; Hardy's Don Alfonso was by turns dignified, cynical, fey and commanding.”

La cenerentola, Opera Birmingham

Birmingham News (2007)

“…bass Jason Hardy played a fine buffoon, wielding his cane precariously and belting out his daughters' defense with bumbling authority.”

Mass in B Minor, National Chorale

The New York Sun (2006)

“Bass Jason Hardy, who was impressive last season at City Opera in Handel's Acis and Galatea, was in finest voice, nimbly presenting the Et in Spritum sanctum…”

Acis and Galatea, New York City Opera

Opera News (2006)

“Brilliantly played by Jason Hardy”

Acis and Galatea, New York City Opera

New Yorker Magazine (2006)

“Jason Hardy brought a strong bass voice and goofy dance moves to the role of Polyphemus”

Acis and Galatea, New York City Opera

The New York Times (2006)

“Jason Hardy's bass, in the role of Polyphemus, had size, quality and was not intimidated by Handel's decorative vocal detail.”

Elixir of Love, Cleveland Opera

Opera News (2006)

“…an ideal Dulcamara… made his singing an object lesson in bel canto…his characterization was funny and full but never grotesque.“

Messiah, Alabama Symphony Orchestra

The Birmingham News (2005)

“...the clear standout…brimmed with expression…a fierce dramatic depiction…the evening's high point.”

Elixir of Love, Cleveland Opera

The Plain Dealer (2005)

“…brings canny mischievousness to the role. His robust bass abounds in tonal beauty and flexibility…”

Don Giovanni, Wolf Trap Opera

Opera News (2005)

“...a commanding bass.”

La cenerentola, Wolf Trap Opera

Washington Times (2005)

“… a bass with low notes and an excellent sense of physical timing”

La cenerentola, Wolf Trap Opera

Washington Post (2005)

“(in) one of the great basso buffo roles in Italian opera, Jason Hardy brought all its acting and singing potential vividly to life.”

The Latest Word, Recital with Steven Blier

Washington Post (2005)

“With a powerful burgundy voice, bass Jason Hardy won the audience over with his humorous antics and expression.”

La Bohème, Palm Beach Opera

Sun-Sentinel (2005)

“As Colline, Jason Hardy showed a magnificent bass voice, and delivered an imposing, richly sonorous farewell to his overcoat.”

Debut Recital, Marilyn Horne Foundation

The New York Times (2005)

“Mr. Hardy showed a healthy sounding bass... The program played especially to Mr. Hardy's good diction.”

La Serva Padrona, New Trinity Baroque

Reading Eagle/Reading Times (2004)

“Hardy's voice was warm, creamy and easily produced, capable of
conveying all the nuances of his role…”

La Serva Padrona, New Trinity Baroque

Atlanta Journal-Constitution (2004)

"Hardy is a major discovery. His bass voice is wide and ringing, with an
easy delivery and an Italianate “ping” in his tone... Hardy was a most
powerful presence"

Elixir of Love, Wolf Trap Opera

Opera News (2004)

“Jason Hardy seized the role of Dulcamara. His bass voice and theatrical personality vividly command the stage.”

Elixir of Love, Wolf Trap Opera

Washington Post (2004)

“Bass Jason Hardy was a splendid, larger-than-life Dulcamara who found
just the right balance of chicanery, opportunism and humor. He handled the patter songs with agility and clarity and both the musical and dramatic
aspects of his assignment with a fine sense of timing.”

Elixir of Love, Wolf Trap Opera

Washington Times (2004)

“brings Dulcamara to life with his broadly comic skills and his clear, unmuddled voice.

Southeastern Festival of Song Opening Gala

Atlanta Journal-Constitution (2004)

“…created a stir. Jason Hardy best conveyed what SEFoS is trying to do:
regale in the human voice but, more meaningfully, tell compelling stories
in music.”

Rigoletto, Opera Birmingham

The Birmingham News (2004)

“a sinister Sparafucile with a solid bass voice.”

Palm Beach Opera Competition

Palm Beach Daily News (2003)

“distinguished, forceful, and dramatically effective”

Marguerite McCammon Voice Competition

Fort Worth Star Telegram (2003)

“...performed so impressively...”

Tales of Hoffmann, Palm Beach Opera

Palm Beach Daily News (2003)

“Jason Hardy sang Crespel with a deeply resonant bass”

Messiah, Annapolis Chorale

The Baltimore Sun (2000)

“…has enormous dramatic flair... a voice of great power and richness combined with a remarkable agility for vocal embellishment... enthralling.”

Annapolis Opera Competition

The Baltimore Sun (2001)

“...his acting skills and a warm, resonant voice... revealed a degree of maturity well beyond his years.”

Die Fledermaus, Merola Opera

San Francisco Chronicle (2000)

“…his Fred Astaire physique and effortless elegance were a delight.”

Creation, Annapolis Chamber Orchestra

The Baltimore Sun (2000)

“Young, expressive voice full of character, elegance, and… more than a
little sex appeal... Splendid: virile and strong and full of interpretive fun.”

Gondoliers, Young Victorian Opera Theater

Baltimore Magazine (1999)

“Best Supporting Actor 1999”