Jonathan Cooke as her Don Jose manages the problem of reining in a powerful tenor voice in this restricted space – the way he floated the top notes at the end of the flower song was an object lesson in how to sing opera in small spaces. He also managed to catch that strange combination of weakness and hidden violence in Don Jose that makes him such a dangerous character.

Baseless Fabric Theatre - Carmen 2022

Owen Davies - Playstosee.com

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...Cooke’s tenor is as equally impressive. His voice, trumpety in all the right places, guides us through the emotion even when his pain can be seen as deserved comeuppance

Baseless Fabric Theatre - Carmen 2022

Tacita Quinn - London Unattached

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Jonathan Cooke's sharply observed Melot was a paradigm of self-righteous nastiness...

London Opera Company - Tristan & Isolde 2020

Katie Barnes - Wagner News

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...Britten Saint Nicolas, with Jonathan Cooke the eponymous saint. His heroic and forceful tones, so different from Peter Pears for whom it was written, gave the whole a cutting edge and urgency, which was impressive and seemed to galvanise all the other singers.

Hastings Philharmonic - St. Nicolas 2019

Brian Hick - Hastings Observer

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Another young tenor with a promising future, Jonathan Cooke was Scarpia’s henchman Spoletta, and made his mark.

Everybody Can! Opera - Tosca 2019

Tamara Cooper - seenandheard-international.com

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...throughout the company – in Jonathan Cooke’s honey-toned Monsieur Triquet...  ...– there was evidence of Studer and Lyness’s skill at casting, and at building an ensemble.

Mid Wales Opera - Eugene Onegin 2018

Richard Bratby - criticscircle.org.uk

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Jonathan Cooke's personable Cavaradossi worked genuine Puccini ardour and lyricism into his two arias.

Carmina Priapea - Tosca 2017

Peter Reed - Opera Magazine

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It was good to hear Jonathan Cooke's ardent tenor managing such a smooth transition from heavenly to earthly as Angelo.

Music in the Minster - Miracle! 2015

Martin Dreyer - Opera Magazine

 

If it was a gamble to cast student Jonathan Cooke as Tamino, it was justified by his ardent lyricism and relationship with Pamina

Young Opera Venture - Magic Flute - 2014

Yorkshire Post

 

Jonathan Cooke sported a strong tenor as Tamino

Young Opera Venture - Magic Flute - 2014

Martin Dreyer - Opera Magazine

 

Cooke – a veteran already of the St. Endellion Festival, a sure-fire guarantee of quality – brought Tamino a kind of Prince William-like noble spirit, which suggested he was ready made not just to join Sarastro but to replace him.

Young Opera Venture - Magic Flute - 2014

Roderic Dunnet - Seenandheard-international.com

 

The young solo quartet was terrific, piercing the church's acoustical fog and including a boyish tenor, Jonathan Cooke, who confidently surmounted the orchestral tone in his martial, Fidelio-like solo.

Greyfriars Kirk, Edinburgh - Beethoven Symphony No. 9 - 2008

Conrad Wilson - Herald Scotland