Don José in Carmen
"Her intended victim is the soldier Don José, tenor John Pickle. Do not let his light-hearted opening banter fool; he is the perfect foil to Cambridge’s Carmen. The sexual tension between the two is electric. He is as consummate an actor as she; the pairing is simply stunning. Pickle’s ability to crank out a high Bb’s pianissimo is the stuff of which Metropolitan dreams are made. His third act tribute to his dying mother is artistically moving to the point of drawing tears. He is Cambridge’s match note for note, action for action, and the final scene of Act IV is worth every second of the wait."
- Toledo Blade, 2019
“As Don Jose, the young soldier who gains Carmen’s attention, tenor John Pickle provides a full-throated vocal performance that underlines the lovesick soldiers plight in the most impassioned of musical terms.”
- Nevada Events, 2009
Alfred in Die Fledermaus
"John Pickle possibly won the vocal laurels as Alfred, but then Alfred gets to show off the most. Pickle’s gleaming tenor registered charmingly in his interpolated snatches of various arias (and even in a few bars of “Crazy”) and he did a funny send up of Pavarotti and his trademark hankie."
- Opera News, 2016
"Tenor John Pickle was hilariously self-absorbed as Alfred, belting out some seriously fine renditions of snippets of other operas."
- Milwaukee Journal Sentinel, 2016
Dr. Marianus in Mahler 8 Symphony
"As for the men, tenor John Pickle's lyrical dominance reverberated courtesy of his clear musical vision and intensifying pacing."
- Culture Map Houston, 2014
"John Pickle had the appropriate power for Doctor Marianus."
- Concertonet.com, 2014
Pinkerton in Madama Butterfly
"As Pinkerton, John Pickle’s tenor is likewise strong if higher and more penetrating than the first cast. Dramatically, Pickle’s Pinkerton is older, stockier and less likable, garnering the traditional hearty boos as well as cheers at the curtain. ...the two singers were well matched in vocal color, their high notes thrilling in the love duet."
- South Florida Classical Review, 2014
"Sunday featured tenor John Pickle in the role of our favorite sailor. Pickle’s Pinkerton was robust, and practically perfect. The chemistry between Pickle and Isiguin was obvious and their act one duet, Vogliatemi bene was beautiful and enchanting, perfect for a wedding night."
- The Shot Glass Review, 2014
"Pinkerton is a young New Yorker, tenor John Pickle, recently lauded for his work in Los Angeles Opera’s mounting of Wagner’s Flying Dutchman. He, too, has a young, strong voice, with a compelling upper register that was able to navigate the love duet of Act I with power and virility. His voice has an evenness throughout its compass that surely makes him a good Wagner singer. It is nonetheless rock-solid and reliable, especially when it came to the climactic high C at the end of the duet."
- Palm Beach Arts Paper, 2014
"Pinkerton, John Pickle, is equally well groomed for the role with a big voice which he has no trouble controlling."
- Concertonet.com, 2014
“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.”
- The Albuquerque Journal, 2006
Riccardo in Un Ballo in Maschera
"Riccardo is one of Verdi's best tenor roles, and John Pickle gave a smoothly sung interpretation, right from his Act 1 aria in which he alternates between musing on the responsibilities of rule ("Power is nothing if it cannot dry its subjects' tears") and lyrical tenderness at the thought of Amelia. His ringing tone in high notes was thrilling."
- Tampa Bay Times, 2013
Erik in Der fliegende Holländer
"...John Pickle, wound up making his, also capable, L.A. Opera debut as Erik. Erik, the conventional hunter Senta dumps for the more mysteriously dangerous Dutchman, may be the least ingratiating of all Wagner's roles. Pickle properly set his reliable tenor to the task of a romantic ardor suitable for thwarting."
- Los Angeles Times, 2013
"Pickle proves to be a glue that holds many scenes together. In fact, as Erik, Pickle is the most passionate of any of the leads and his Act 3 solo reinforces that fact."
- Deseret News, 2013
"Senta’s former boyfriend Erik, sung superbly by John Pickle, hears that a stranger has set his sights on her and jealously tries to reconcile. Pickle’s heldentenor voice rang brilliantly as his fury with Senta escalated, maintaining keen focus throughout his vocal high-wire act."
- The Salt Lake City Tribune, 2013
"John Pickle, as Erik, was the finest actor of the lot and showed an impressive voice, as well."
- Kansas City Star, 2013
"This reviewer has always had a soft spot for jilted Erik, and Pickle's emotionally wrought characterization drove this even harder home than usual (it is another seeming trend this season that one is finding the secondary characters turning in particularly affecting performances)."
- KC Stage, 2013
"Opposite Citro is another fine actor, John Pickle. His portrayal of Erik, especially the Act 2 “Mein Herz, voll Treue,” brought a welcome breather from the bellowing."
- KCMetropolis.org, 2013
"John Pickle produced virile sounds as Erik and showed astonishing sureness, considering that as a replacement he had learned the role in only a couple of weeks."
- Wagner Notes, 2010
“Pickle is in his element, performing his role with a heart-rending passion. His entreaties have the force of a man ripping at his own insides in frustration.”
- The Mobile Press-Register, 2010
Canio in I Pagliacci
“John Pickle’s portrayal of the jealous Canio is especially poignant during the aria “Vesti la giubba,” the tenor’s powerful high notes ringing beautifully throughout the house.”
- Delaware News Journal, 2012
“American tenor, Pickle gives a different look and feel to the role, in addition to his powerful voice.”
- The Huffington Post, 2012
Turiddu in Cavalleria Rusticana
“John Pickle’s Turiddu was sensitive at times and commanding at others, particularly during the duet “Ah! Lo vedi che hai tu detto?” where the couple’s passionate singing was brilliant.”
- Delaware News Journal, 2012
Calaf in Turandot
“Calaf, sung by John Pickle, exudes a confidence that borders on the foolhardy. Pickle has performed with Mobile Opera in the past, but this is his debut as Calaf and he brings clarity and strength to the role. His “Nessun dorma” is the opera’s showpiece, but his work throughout is stellar. “Straniero, ascolta!” (the “Riddle Scene”) with Follman is revelatory; and hear the pain in his voice during the Act III tragedy with the slave girl Liu...”
- The Mobile Press-Register, 2012
Cavaradossi in Tosca
“Pickle sings the role of the firebrand Cavaradossi with nobility fueled by desire. Possessed of a supple voice and astonishing range, he brings a lover’s ardor and a touch of melancholy to Mario’s Act III aria…”
- The Mobile Press-Register, 2011
"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, 2008
Rodolfo in La Bohème
“Rodolfo's famous aria, "Che gelida manina," in which he properly introduces himself to Mimi, showed off John Pickle's considerable range to great dramatic effect. The aria's high B flat and C were delivered with sparkling clarity and impeccable intonation.”
- The Baltimore Examiner, 2010
“John Pickle did very stylish work as Rodolfo, particularly at soft dynamics, when his voice revealed an affecting warmth.”
- The Baltimore Sun, 2010
“John Pickle, a true Puccini tenor, brings a resilient, wonderfully placed sound and a sensitive musicality to Rodolfo that embraces each nuance of this rich score with an enviable mix of delicacy and strength. His singing of “Che gelida manina” is a study in adoration for the woman he loves at first sight.“
- Nevada Events, 2009
Edgardo in Lucia di Lammermoor
“John Pickle as Lucia's doomed lover Edgardo, has the final word. At the tomb of his ancestors, having been cheated of both his birthright and Lucia, he resigns himself to his own death. Pickle's ringing tenor pervades the entire scene but his aria Tombe degl'avi miei is the crown jewel.”
- The Albuquerque Journal, 2009
“Pickle, for instance, and the oboe performed together during one of the music’s more intimate passages. The tenor also didn’t lack for emotional expression and he hit ringing high notes.”
- The Baton Rouge Advocate, 2010
“John Pickle, as Gabriello, had a liquid tenor…”
- The New York Times
“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.”
- Opera News
“…and tenor John Pickle, who enjoyed their share of musical highlights during the Saturday night concert, delivered a bravura tandem performance… Another emotional highlight arrived moments later when Pickle, perhaps channeling Pavarotti, delivered a superb "Nessun Dorma" from Turandot that brought a few audience members to their feet in admiration.”
- The Mobile Press-Register
“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.”
- Nevada Events
“…Pickle’s tenor is so mellifluous that we are captivated whenever he lets his voice out.”
- The Cleveland Plain Dealer
“Mr. Pickle opened the program with the “Siciliana” with harp accompaniment from Cavalleria Rusticana. One was struck by the beguiling beauty of his tenor voice with both sweetness and focus and had a Jussi Bjoerling like sound. In “Apri la tua finestra” from Iris, Pickle’s elegant phrasing, breath control and solid technique served him well. Both Enrico Caruso and Beniamino Gigli made superb recordings of this lovely ardent serenade and Pickle did it justice.”
- The Italian Voice
“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.”
- The Akron Beacon Journal
“…John Pickle pours out his glorious, seamless tenor in one melody after another, an inexhaustible supply.”
- The Alliance Review