CRITICAL ACCLAIM

“... Kaufman was a true find…” – Opera News

Madama Butterfly – “Tenor Jonathan Kaufman was a true find. Kaufman displayed a fine technique along with a bright and gleaming sound – perfectly suited to Puccini’s vocal writing. Kaufman effectively conveyed Pinkerton’s bravado during Act I, and his tragic remorse at the end."

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"...reminiscent of Luciano Pavarotti.” – St. Louis Post-Dispatch

Madama Butterfly –  “Kaufman, with his girth and great skill at long-held high notes, is reminiscent of Luciano Pavarotti.”

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"...Kaufman was a Malcolm whose singing was worthy of the crown won by his valor.” – Voix-des-Arts

Macbeth – “…Opera Carolina had in Jonathan Kaufman a Malcolm who was anything but a conventional secondo uomo. Kaufman’s lustrous timbre gave Malcolm’s lines in the Act One sextet and finale welcome muscle, and his vocalism in the scene with Macduff in Act Four was fittingly heroic. Ascents above the stave were handled with assurance that echoed the character’s rightful authority. Regaining the power usurped by Macbeth, Kaufman was a Malcolm whose singing was worthy of the crown won by his valor.”

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“…[sung] beautifully and provide[d] solid characterization.” – HEC Media

Madama Butterfly – “…[sung] beautifully and provide[d] solid characterization.” “Jonathan Kaufman embodies Pinkerton’s brashness in the first act and his remorse in the third.”

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"A clear, true tenor voice." – LancasterOnline

The Light in the Piazza – "As for Jonathan Kaufman, he was endearing as the love-struck, unsophisticated Fabrizio singing out his feelings in a clear, true tenor voice."

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“Kaufman’s voice encompassed me and reached my core,..." – Writing Dailey

Found in Translation: A Dramatic Opera Experience –  “Kaufman’s voice encompassed me and reached my core, where inspiration and creativity thrive. The sound beckoned me to act, feel, and follow my own passions with deepened commitment.”