Jonas

Hacker

Tenor
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Reviews

The vocally compelling Music and Dancing Master of Jonas Hacker.
Tanzmeister (Ariadne auf Naxos) / Salzburger Festspiele / The Opera Critic SEP 2026
His gleaming tenor has taken on more body and richness… A masterful achievement.
Tom Rakewell (The Rake’s Progress) / Des Moines Metro Opera / Opera Today JUL 2025
His lovely lyric tenor voice is matched by an ingratiating stage presence… ineffably moving
Tom Rakewell (The Rake’s Progress) / Des Moines Metro Opera / Opera News AUG 2025
What a great idea to have entrusted Alfredo to Jonas Hacker, the new Jonas, whose specialty is not Verdi! Far from clichés and conventional effects, he invites us to return to his roots: he has the youthful ardor required, the clarity of timbre, the length of voice and the naturalness that do full justice to the score. No pressure: the text, its spirit, its truth. The length of the voice impresses, the tempi are restrained without being languid, the vigor and style are there. As with Violetta, we'll refrain from listing the strongest moments from the brindisi to the end of the work. The joy is constant. The whole expressive palette is rendered with confounding ease. Let's hope he'll be more present in our major casts.
Forum Opera, Yvan Beuvard October 14, 2024
Quelle heureuse idée d’avoir confié Alfredo à Jonas Hacker, le nouveau Jonas, dont Verdi n’est pas la spécialité ! Loin des clichés et des effets convenus, c’est à un retour aux sources qu’il nous convie : il a l’ardeur juvénile requise, la clarté du timbre, la longueur de voix et le naturel qui rendent pleinement justice à la partition. Aucune sollicitation : le texte, son esprit, sa vérité. La longueur de voix impressionne, les tempi sont retenus sans être alanguis, la vigueur, le style sont au rendez-vous. Comme pour Violetta, on renonce à énumérer les moments les plus forts depuis le brindisi jusqu’au terme de l’ouvrage. Le bonheur est constant Toute la palette expressive est restituée avec une aisance confondante. Souhaitons-le plus présent dans nos grandes distributions.
Forum Opera. Yvan Beuvard October 14, 2024
For many, tenor Jonas Hacker will be a revelation. Clear and fruity, his effortlessly emitted voice travels pleasantly through the vast space designed by the scenography.
Olyrix, The Creation by Kevin Barz February 2, 2024
Her Fenton, Jonas Hacker… exactly what a young swain should sound and look like. His tenor carried off Act three’s “Dal labbro il canto estasiato vola” with a smooth and stirring grace, as both he and Habersham gave a spotlight to the subplot of the duo’s true love conquering all, with simply terrific singing.
Matt Costello, OperaWire August 28, 2021
As a nebbishy bespectacled Mercury, Jonas Hacker dominated every scene he was in. Mr. Hacker has an immensely engaging stage presence, and his bright, full-bodied lyric tenor invited our attention with every pleasurable phrase.
James Sohre, Opera Today July 1, 2021

BIOGRAPHY

A 2016 Grand Finalist of the Metropolitan Opera National Council Auditions, American tenor Jonas Hacker regularly receives high praise for his “attractive tenor voice,” “honeyed tone and easeful delivery,” and his ability to convincingly portray characters across genres from Mozart to Britten. Hailing from Lake Delton, Wisconsin, Hacker trained at several prestigious institutions and young artist programmes in the United States, including the Academy of Vocal Arts, Wolf Trap Opera, and the Glimmerglass Festival, and participated in the Mozart Residency at the Festival d’Aix-en-Provence.

2026/27 SEASON

The 2026/27 season sees Jonas Hacker make his UK debut as Ferrando in a concert performance of Mozart’s Così fan tutte with the Royal Northern Sinfonia, followed by his debut at the Komische Oper Berlin as Orpheus in Barrie Kosky’s production of Offenbach’s Orphée aux enfers. He then returns to the Estonian National Opera as Tamino in Die Zauberflöte and makes his debut at La Monnaie / De Munt in Brussels as Scaramuccio in Richard Strauss’s Ariadne auf Naxos. On the concert stage, Hacker returns to the Columbus Symphony in March 2027 as Uriel in Haydn’s The Creation, conducted by Rossen Milanov. He concludes the season with a role debut as Belmonte in Mozart’s Die Entführung aus dem Serail at the Opéra Grand Avignon.

RECENT HIGHLIGHTS

Recent highlights include Hacker’s Metropolitan Opera debut as the Young Shepherd in Tristan und Isolde, his debut with the Norwegian National Opera as Tamino in Barrie Kosky’s acclaimed production of Die Zauberflöte, and his return to the Bayerische Staatsoper as Pedrillo in Die Entführung aus dem Serail. At the 2026 Salzburg Festival, he made his festival debut as the Tanzmeister in a new production of Ariadne auf Naxos. Further recent engagements include Alfredo in La traviata at the Opéra Grand Avignon and Teatro Municipal de Santiago de Chile, Kyle in Missy Mazzoli’s The Listeners at Lyric Opera of Chicago, Tom Rakewell in The Rake’s Progress at Des Moines Metro Opera, and Tamino in Die Zauberflöte at the Estonian National Opera.

Hacker was a member of the ensemble at the Bayerische Staatsoper from 2021 to 2024, where his roles included Tamino (Die Zauberflöte), Walther von der Vogelweide (Tannhäuser), Hylas (Les Troyens), Pedrillo (Die Entführung aus dem Serail), Arbace (Idomeneo), Jaquino (Fidelio), and Sladek/Pierrino in Christoph Marthaler’s production of Giuditta. He has also appeared as a guest at the Opéra national de Lorraine, where he sang Uriel in a staged production of Haydn’s The Creation, and at the Staatsoper Hannover as Tamino.

A frequent guest with leading American opera companies, Hacker has appeared at the Dallas Opera, Lyric Opera of Chicago, Washington Concert Opera, Opera San José, Arizona Opera, and Des Moines Metro Opera, among others. His repertoire includes Ferrando in Così fan tutte, Fenton in Falstaff, Count Almaviva in Il barbiere di Siviglia, Tebaldo in I Capuleti e i Montecchi, Mercury in Rameau’s Platée, and Laertes in Ambroise Thomas’s Hamlet. He is equally at home in contemporary repertoire, with roles including Timothy Laughlin in Gregory Spears’s Fellow Travelers, the Novice in Billy Budd, and the Prince in Alma Deutscher’s Cinderella.

Frequently seen on the concert stage, Hacker has performed Handel’s Messiah with the Philadelphia Orchestra under Yannick Nézet-Séguin and Jane Glover. His concert repertoire also includes Obadiah in Mendelssohn’s Elijah and Beethoven’s Symphony No. 9 with the Columbus Symphony, Mozart’s Great Mass in C minor with the Orchestre Métropolitain under Nézet-Séguin, Mozart’s Requiem and Bach’s Mass in B minor with Music of the Baroque, and Bach’s Mass in B minor and Cantata BWV 150 with the Philadelphia Orchestra under Nézet-Séguin. He made his Carnegie Hall debut in 2019 singing excerpts from Alma Deutscher’s Cinderella.

SELECTED ROLES

Tamino · Die Zauberflöte
Bayerische Staatsoper · Staatsoper Hannover · Estonian National Opera · Norwegian National Opera

Tom Rakewell · The Rake’s Progress
Des Moines Metro Opera

Alfredo Germont · La traviata
Opéra Grand Avignon · Teatro Municipal de Santiago de Chile

Ferrando · Così fan tutte
Bayerische Staatsoper · Royal Northern Sinfonia

Belmonte · Die Entführung aus dem Serail
Opéra Grand Avignon

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