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Gwyn Hughes Jones

Tenor

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Managed by Doreen O'Neill doreen@harlequin-agency.co.uk

Gwyn’s powerful yet beautiful, unforced tone makes him the perfect choice for the Italian operatic repertoire. His portrayal in major opera houses in both the USA and UK of Puccini and Verdi roles, such as Cavaradossi, Rodolfo, Pinkerton and the Duke, have been critically acclaimed. Recent operatic roles are Manrico in Il Trovatore which he performed at the Metropolitan Opera, New York, and Chevalier des Grieux in Manon Lescaut for Welsh National Opera. His concert repertoire ranges from Mahler’s Das Lied von der Erde to Verdi’s Requiem. Recent recordings include Macduff in Macbeth for Opera Rara on the Chandos Label.

Gwyn Hughes Jones is from Llanbedrgoch, Anglesey, in Wales. He made his professional operatic debut in 1995 with Welsh National Opera as Ismaele in Nabucco conducted by Carlo Rizzi. Among the roles he has sung for the company are Manrico in Il Trovatore, Duke in Rigoletto, Rodolfo in La Bohème, the Title Role in Gounod’s Faust, Pinkerton in Madama Butterfly, Don José in Carmen and Nemorino in L'Elisir D’amore.

Roles for other British companies include Pinkerton in Madama Butterfly and Macduff in Macbeth for the Royal Opera, Covent Garden, and Calaf in Turandot, Pinkerton in Anthony Minghella’s award winning production of Madama Butterfly, Rodolfo in La Bohème, Lensky in Eugene Onegin, Rinuccio in Gianni Schicchi and the Italian Tenor in Der Rosenkavalier for English National Opera.

Gwyn made his European debut as Ismaele in Nabucco with Opera National de Paris and subsequently sang Camille de Rossillon in Die Lustige Witwe for the company. Other appearances in Europe include the Title Role in Werther for Opera National de Lyon conducted by Christian Badea, Fenton in Falstaff for La Monnaie, Brussels conducted by Antonio Pappano, Rodolfo in La Bohème and Don José in Carmen for Norwegian National Opera and at the Music Theatre Trondheim and Pinkerton in Madama Butterfly at the Festival Lírico Internacional de San Lorenzo de El Escorial in Spain.

In 1999 Gwyn made his American operatic debut as Fenton in Falstaff conducted by Antonio Pappano for the Lyric Opera of Chicago. In the same year he appeared at San Francisco Opera singing Rodolfo in La Bohème and Ismaele in Nabucco, conducted by Nello Santi. In 2001 Gwyn made his debut at the Metropolitan Opera, New York singing Ismaele in Nabucco, a role he has revived twice for the company. The production, conducted by James Levine was released on DVD in 2005. Gwyn has also sung Fenton in Falstaff at the Metropolitan Opera, New York, Pinkerton in Madama Butterfly and Rodolfo in La Bohème for the Lyric Opera of Chicago and Ernesto in Don Pasquale for Florida Grand Opera. In 2007, Gwyn made his debut with the Santa Fe Opera singing Rodolfo. In 2008, Gwyn made his debut for Los Angeles Opera singing Cavaradossi in Tosca and in 2011 made his debut for Washington National Opera singing the same role with both productions conducted by Placido Domingo. In  2012 Gwyn  returned to the Metropolitan Opera, New York to sing  Manrico in Il Trovatore conducted by Daniele Callegar,In 2014 Gwyn made his debut in the role of Chevalier des Grieux in Manon Lescaut for Welsh National Opera and returned to the Metropolitan Opera to sing Pinkerton.  He also sang Chevalier des Grieux in the Savolinna Festival.

Gwyn has appeared with many orchestras, including the Academia Nazionale di Santa Cecilia, Trondheim Symfoniorkester, the Israeli Philharmonic Orchestra, the Royal Flanders Philharmonic Orchestra, London Symphony Orchestra, London Philharmonic Orchestra, London Sinfonietta and Royal Philharmonic Orchestra. He is also an accomplished recitalist and recorded the first ever televised recital from the Wigmore Hall, London. He has appeared in recital at the St. Olaf Festival in Trondheim, Musashino Civic Cultural Hall in Tokyo, Purcell Room, London and the Auditorium du Louvre, Paris. In 2011 Gwyn took part in opera galas in Sweden to mark the 100th anniversary of Jussi Bjorling’s birth. His extensive concert repertoire includes Verdi’s Requiem and Mahler’s Das Lied von der Erde. Gwyn’s recordings include Macduff in Verdi’s Macbeth released on the Chandos label.

In 2015 Gwyn made his debut in the role of Walther in Die Meistersinger von Nurnberg for English National Opera. Other new roles in future seasons include Title Role in Verdi’s Ernani, Turiddu in Cavalleria Rusticana and Canio in I Pagliacci.


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DateRole, Production & Venue
03/07/2015Title Role in Ernani with the Chelsea Opera Group at the Queen Elizabeth Hall, London
11/07/2015Soloist in Act 1 Tosca with the Boston Symphony Orchestra at Koussevitzky Music Shed, Tanglewood
25/07/2015Soloist in a Concert in aid of Velindre Hospital at Caereinion Leisure Centre
31/07/2015Soloist in Verdi's Requiem in the Three Choirs Festival at Hereford Cathedral
09/11/2015Don Alvaro in The Force of Destiny for English National Opera at the London Coliseum
13/11/2015Don Alvaro in The Force of Destiny for English National Opera at the London Coliseum
18/11/2015Don Alvaro in The Force of Destiny for English National Opera at the London Coliseum
20/11/2015Don Alvaro in The Force of Destiny for English National Opera at the London Coliseum
25/11/2015Don Alvaro in The Force of Destiny for English National Opera at the London Coliseum
27/11/2015Don Alvaro in The Force of Destiny for English National Opera at the London Coliseum
02/12/2015Don Alvaro in The Force of Destiny for English National Opera at the London Coliseum
04/12/2015Don Alvaro in The Force of Destiny for English National Opera at the London Coliseum
Beethoven Choral Symphony
Bruckner Te Deum
Elgar Dream of Gerontius
Elgar King Olaf
Elgar The Kingdom
Geraint Lewis Caer Arianrhod
Gounod St Cecilia Mass
Handel Messiah
Haydn Creation
Mahler Das Lied von der Erde
Mendelssohn Elijah
Mozart Requiem
Mozart Mass in C minor
Vaughan Williams Serenade to Music
Verdi Requiem
Verdi Hymn of the Nations
Beethoven
Choral Symphony
Bruckner
Te Deum
Elgar
Dream of Gerontius
Elgar
King Olaf
Elgar
The Kingdom
Geraint Lewis
Caer Arianrhod
Gounod
St Cecilia Mass
Handel
Messiah
Haydn
Creation
Mahler
Das Lied von der Erde
Mendelssohn
Elijah
Mozart
Requiem
Mozart
Mass in C minor
Vaughan Williams
Serenade to Music
Verdi
Requiem
Verdi
Hymn of the Nations
Bizet CarmenDon José
Donizetti Don PasqualeErnesto
Donizetti L'Elisir D'AmoreNemorino
Donizetti Lucia di LammermoorEdgardo
Gounod FaustFaust
Lehar Die Lustige WitweRosillon
Massenet WertherWerther
Massenet ManonDes Grieux
Mozart Don GiovanniDon Ottavio
Puccini La BohèmeRodolfo
Puccini Gianni SchicchiRinuccio
Puccini Madama ButterflyPinkerton
Puccini ToscaCavaradossi
Puccini TurandotCalaf
Puccini Manon LescautDes Grieux
Richard Strauss Der RosenkavalierItalian Tenor
Tchaikovsky Eugene OneginLensky
Verdi NabuccoIsmaele
Verdi RigolettoDuke
Verdi FalstaffFenton
Verdi MacbethMacduff
Verdi Il TrovatoreManrico
Verdi ErnaniErnani
Verdi Don CarloDon Carlo
Verdi AidaRadames
Verdi Un Ballo in MascheraRiccardo
Bizet
Carmen
Don José
Donizetti
Don Pasquale
Ernesto
Donizetti
L'Elisir D'Amore
Nemorino
Donizetti
Lucia di Lammermoor
Edgardo
Gounod
Faust
Faust
Lehar
Die Lustige Witwe
Rosillon
Massenet
Werther
Werther
Massenet
Manon
Des Grieux
Mozart
Don Giovanni
Don Ottavio
Puccini
La Bohème
Rodolfo
Puccini
Gianni Schicchi
Rinuccio
Puccini
Madama Butterfly
Pinkerton
Puccini
Tosca
Cavaradossi
Puccini
Turandot
Calaf
Puccini
Manon Lescaut
Des Grieux
Richard Strauss
Der Rosenkavalier
Italian Tenor
Tchaikovsky
Eugene Onegin
Lensky
Verdi
Nabucco
Ismaele
Verdi
Rigoletto
Duke
Verdi
Falstaff
Fenton
Verdi
Macbeth
Macduff
Verdi
Il Trovatore
Manrico
Verdi
Ernani
Ernani
Verdi
Don Carlo
Don Carlo
Verdi
Aida
Radames
Verdi
Un Ballo in Maschera
Riccardo

Opera

Il Trovatore

Manrico in Il Trovatore for Scottish Opera, May 2015
Herald Scotland
Gwyn Hughes Jones makes a terrific Scottish Opera debut as Manrico.
Manrico in Il Trovatore for Scottish Opera, May 2015
The Scotsman
Hughes Jones’s tenor voice soars heroically in the big numbers, a kind of tragic ecstasy that fits his troubled role to a T. A truly memorable performance.
Manrico in Il Trovatore for Scottish Opera, May 2015
The Stage
As her beloved troubadour Manrico, Gwyn Hughes Jones sings with a real sense of style while also making his mark dramatically.
Manrico in Il Trovatore for Scottish Opera, May 2015
The Guardian
Manrico, is thrillingly sung by Gwyn Hughes Jones. The part’s strenuous demands are met with fervour. His testosterone-fulled Di quella pira must have rattled teacups along the Clyde.
Manrico in Il Trovatore for the Metropolitan Opera, New York, October 2012
Opera Magazine
The Manrico of Gwyn Hughes Jones also had a bel canto quality, yet was also vocally ample. Possessed of a handsome, bright tenor voice, he cut a dashing figure as the troubador.
Manrico in Il Trovatore for the Metropolitan Opera, New York, October 2012
Opera News
Gwyn Hughes Jones, whose brawny, heroic tenor voice has baritonal colorings, brought excitement to the proceedings even in the first sound of his offstage singing, which revealed enough passion to make it clear that his Manrico would be able to match the standard of gripping drama already laid down by Yu's Leonora. His "Di quella pira" rang with vibrant excitement; the Met Chorus and Orchestra roaring full throttle at the end of that number paved the way thrillingly for Hughes Jones's fully confident concluding high C.
Manrico in Il Trovatore for the Metropolitan Opera, New York, October 2012
New York Times
Mr Hughes Jones sang with ardent muscle . . . . and acted with intense commitment to the opera's gloriously extreme plot'.
Manrico in Il Trovatore for Welsh National Opera, February 2011
The Guardian
Making a role debut as Manrico, Gwyn Hghes Jones emerged with honour here. Vocally secure and ardent in his lyrical phrasing.

The Mastersingers of Nuremberg

Walther in The Mastersingers of Nuremberg for English National Opera, February 2015
Daily Express
Gwyn Hughes Jones, as Walther von Stolzing, brings just the sort of nobility and clear and passionate voice to the role that you feel deserves to win the contest.
Walther in The Mastersingers of Nuremberg for English National Opera, February 2015
The Stage
Gwyn Hughes Jones was in glorious rhapsodic voice.
Walther in The Mastersingers of Nuremberg for English National Opera, February 2015
Telegraph
Walther’s romantic lyricism, sung with such luscious Italianate ardour by Gwyn Hughes Jones.
Walther in The Mastersingers of Nuremberg for English National Opera, February 2015
Backtrack
The more intimate environment of Act |||, the lustre of Hughes-Jones’ voice lifted the performance wonderfully.
Walther in The Mastersingers of Nuremberg for English National Opera, February 2015
Financial Times
Gwyn Hughes Jones is assured in the all-important Prize Song.
Walther in The Mastersingers of Nuremberg for English National Opera, February 2015
The Spectator
Gwyn Hughes Jones portrays Walter as a natural rebel, ill-clad and not well-mannered, but he sings gloriously; for once the Prize Song grows as it should from Sachs’s study to the festival meadow.
Walther in The Mastersingers of Nuremberg for English National Opera, February 2015
The Arts Desk
Gwyn Hughes Jones has no problems at all through the range, stays the course and delivers the Prize Song each time as the great beauty it is.
Walther in The Mastersingers of Nuremberg for English National Opera, February 2015
The Guardian
Hughes Jones is an ardent, tremendously plausible suitor
Walther in The Mastersingers of Nuremberg for English National Opera, February 2015
Planet Hugill – A world of classical music
Making a seemingly a rare foray into Wagner, he seemed to have found terrific form. Vocally and visually he seemed relaxed and natural. His gleaming, bright tone was fluid, flexible and highly focussed with a good sense of line. Apparently tireless, Jones’s Prize Song was beautifully sung as well as being stirring.
Walther in The Mastersingers of Nuremberg for English National Opera, February 2015.
Mail on Sunday
Gwyn Hughes Jones is an ardent Walther
Walther in The Mastersingers of Nuremberg for English National Opera, February 2015.
Sunday Times
The Welsh tenor Gwyn Hughes Jones sings with an Italianate fluidity that Wagner wrote into the score – turns and trills that defeat most Heldentenors.
Walther in The Mastersingers of Nuremberg for English National Opera, February 2015.
The Independent
Gwyn Hughes Jones's sweetly-sung Walther is an ideal fit with the musical and dramatic demands of his part.

Manon Lescaut

Des Grieux in Manon Lescaut for Welsh National Opera, February 2014
The Independent
Gwyn Hughes Jones made an impassioned, bewildered Des Grieux
Des Grieux in Manon Lescaut for Welsh National Opera, February 2014
The Telegraph
Gwyn Hughes Jones brought robust Italianate tone and broad phrasing to his arias and the two big duets
Des Grieux in Manon Lescaut for Welsh National Opera, February 2014
The Guardian
Caught between passion and frustration, Jones nevertheless sustains the tone with admirable control to the bitter end, making this a notable debut in the role.
Des Grieux in Manon Lescaut for Welsh National Opera, February 2014
Seen and Heard
Gwyn Hughes Jones has a genuinely Italianate manner in Puccini and there was much to enjoy in his vocal interpretation of Des Grieux’s arias and duets, sung as they were with open-hearted, but disciplined passion.

Tosca

Cavaradossi in Tosca for Welsh National Opera, September 2013
The Guardian
Tenor Gwyn Hughes Jones's Cavaradossi had real fire in his belly and in his tone: he articulated the passion of his principles and his passion for Floria Tosca with equal emotional validity, and there was a ringing conviction to his delivery of all the big arias
Cavaradossi in Tosca for English National Opera, November 2011
The Times
The best thing about this revival, though, is her Cavaradossi, Gwyn Hughes Jones, following his ENO successes as Pinkerton and Rodolfo, is simply one of the best Cavaradossis London has heard in many years. His promise to save Angelotti rings out with true Italianate slancio; his replies in interrogation are tense with terror; his E lucevan le stelle, exquisitely phrased, has the sob, the squillo, the half-voice - the entire package. And he makes the part very much his own.
Cavaradossi in Tosca for English National Opera, November 2011
The Opera Critic
Gwyn Hughes Jones is a sensation. His powerful and beautiful tenor fills the Coliseum without effort or force, his characterization is vivid without overplaying things and he conveys the character in three-dimensional form.
Cavaradossi in Tosca for English National Opera, November 2011
The Londonist
Gwyn Hughes Jones is no less accomplished as her lover, Cavaradossi, his upper register possessing a brilliant, yet secure, lightness that sees vocal lines executed with breathtaking beauty.
Cavaradossi in Tosca for English National Opera, November 2011
Classical Source
The revelation of this revival is Gwyn Hughes Jones as Cavaradossi. The Welsh tenor, gave a passionately engaged ‘Recondita armonia’ in Act One, an astonishing and heart-wrenching ‘E lucevan le stelle’ in Act Three, and was wonderful in pretty well everything in between. “Vittoria!”, the painter’s defiant riposte to Scarpia, is translated as “Victorious!” – a word whose ringing affirmation both in sense and sentiment belonged to Hughes Jones on this night; a star may not have been born, exactly, but one certainly came of age.
Cavaradossi in Tosca for Washington National Opera, September 2011
Washingtonian
The Welsh tenor made a brilliant Washington debut, singing this demanding role with far greater grace, beauty, and dramatic appeal than his first-cast counterpart. He sang Cavaradossi, a role that is often rendered with little nuance, with vigor and solidity but also with pleasing sensitivity. His rendition of the big aria, E lucevan le stelle, was melancholy and anguished in gestures both vocal and physical, with an exquisite decrescendo on one critical high note that was artful and affecting.
Cavaradossi in Tosca for Washington National Opera, September 2011
S F Gate.com
As Cavaradossi, Gwyn Hughes Jones showed why he has a tenor perfect for the big Italian repertory. The Welshman bellowed out the artists’s declarations of anger and revolution with effortless strength, yet was gentle enough to playfully tease Tosca
Cavaradossi in Tosca for Los Angeles Opera, June 2008
Music & Vision
The vocal star of the evening, however, was Welsh tenor Gwyn Hughes Jones. He has a large Italianate sound that is perfect for the role of Cavaradossi. A class act, full of poetic ardor and tonal splendor, including a heart stopping slow diminuendo in E lucevan le stelle. The sweet timber of Jones’ voice recalls that of the great Pavarotti.

La Bohème

Rodolfo in La Bohème for English National Opera, April 2013
Classical Source
Hughes Jones is even more effective than he was in the 2010 revival – his connection with Mimi is arrestingly immediate and his attractive tenor has really opened out, distinguished by an easy lyricism and thrilling top notes.
Rodolfo in La Bohème for English National Opera, April 2013
Opera Britannia
‘Che gelida manina’ was sung beautifully and with ardour. Mr Hughes Jones is a versatile performer, and whether voiced with tenderness, envy, or ebullience, his honey-toned tenor was a delight.
Rodolfo in La Bohème for Welsh National Opera, May 2009
The Guardian
Gwyn Hughes Jones managed to suggest something of the poet’s existential dilemma, as well as affecting tenderness of tone.
Rodolfo in La Bohème for Welsh National Opera, May 2009
Music Web
Gwyn Hughes Jones gave one of the best performances I have ever seen, being in command vocally and dramatically at all turns complete with truly splendid top notes.
Rodolfo in La Bohème for Lyric Opera of Chicago, November 2007
Chicago Sun-Times
Soprano Serena Farnocchia and Welsh tenor Gwyn Hughes Jones took over as Puccini’s doomed young lovers. Neither are exactly household names, however, so listeners might have been pleasantly surprised by the splendid singing and passionate involvement they brought to their roles. They seemed to take the opera to a new level of intimacy.
Rodolfo in La Bohème for Santa Fe Opera, July 2007
Denver Post
The towering star is Jones, who is making his Santa Fe debutas the poet Rodolfo. Jones possesses an all too rare Italianate tenor voice that is ideally suited to repertoire of this kind, with it’s soaring, lyrical line and rich, embracing tone. He raises goose bumps with his spellbinding take on the famous Act 1 aria “Che gelida manina”.

Madama Butterfly

Pinkerton in Madama Butterfly for Welsh National Opera, February 2013
Western Mail
Pinkerton is Gwyn Hughes Jones who sings with a total security and confidence.
Pinkerton in Madama Butterfly for Welsh National Opera, February 2013
Opera
GHJ was in strong form as the boorish cad Pinkerton, his heartbreak at the end an awkward leap well negotiated.
Pinkerton in Madama Butterfly for English National Opera, February 2008
Opera Magazine
A fine tenor, with an attractive steady and lyrical voice
Pinkerton in Madama Butterfly for English National Opera, February 2008
Western Mail
Hughes Jones has come a long, long way since winning the Welsh Singers Competition in 1996 and reaching the final of the Cardiff Singer of the World the following year. The only original member of the cast in this Carolyn Choa revival, Hughes Jones now sings with a richness and total security that marks the Llanbedrgoch-born singer as one of our leading operatic tenors.
Pinkerton in Madama Butterfly for English National Opera, February 2008
Financial Times
Gwyn Hughes Jones sang Pinkerton with a bright, confident tenor and put across the casual racism of the man without exaggeration.
Pinkerton in Madama Butterfly for Royal Opera House, Covent Garden, July 2005
Opera
The Welsh tenor Gwyn Hughes Jones was also making his Royal Opera debut, and he sang Pinkerton stylishly.
Pinkerton in Madama Butterfly for Lyric Opera of Chicago, June 2004
Opera
Gwyn Hughes Jones, whose Pinkerton was commendably sung and acted.
Pinkerton in Madama Butterfly for Lyric Opera of Chicago, June 2004
Chicago Tribune
The Welsh tenor Hughes Jones (last heard here in 1999 as Fenton in Verdi’s “Falstaff”) mustered a clear, attractive sound.

Turandot

Calaf in Turandot for Welsh National Opera, May 2011
The Times
Bah humbug to the conductor for not allowing Gwyn Hughes Jones to draw his ovation for Nessun Dorma, the climax to a great evening for the clarion-voiced Welsh tenor.
Calaf in Turandot for Welsh National Opera, May 2011
The Guardian
Tenor Gwyn Hughes Jones gave an assured performance, accomplishing Calaf’s soaring lines with focused ease.
Calaf in Turandot for Welsh National Opera, May 2011
Western Mail
The reliable and always pleasing Gwyn Hughes Jones maintained pace and presence throughout.
Calaf in Turandot for English National Opera, October 2009
The Independent
She is well wooed by Gwyn Hughes Jones’ Calaf. He really impressed me with his heroic open sound, magnificently nailing the high C most Calaf’s seek to avoid in the Riddle Scene and filling that aria with real tenorial rapture.
Calaf in Turandot for English National Opera, October 2009
Opera Britannia
Gwyn Hughes Jones as Calaf was extremely good. His bright, ringing and powerful tenor was a delight to hear. Every inch the equal of his Turandot, the voice opened up with ringing intensity in the very upper reaches of the voice. “Nessun Dorma” was transformed by a passionate and elegant reading, capped by a solid high B. It’s a natural heroic lyric tenor, which suits Puccini’s overwrought writing perfectly.
Calaf in Turandot for English National Opera, October 2009
Seen and Heard
There can be no denying that Gwyn Hughes Jones – in another roles debut – provides convincing evidence that he is already a fine Calaf. His voice is strong, steady and there was no hint either of notes being forced or any sense of vocal strain throughout the evening. Gwyn Hughes Jones’s Calaf has a bright, ringing sound and the right Italianate timbre, something very difficult to sustain when singing Puccini in English. In ‘Nessun dorma’ he reached the resounding climax with touching restraint.
Calaf in Turandot for English National Opera, October 2009
Musical Criticism
Gwyn Hughes Jones a hugely attractive Calaf, with an open tenor sound, effortless in the higher tessitura and a big singing presence all evening. …And a final word for Gwyn Hughes Jones as Calaf, who rose with calm assurance to the occasion and who delivered the world’s most famous tenor aria with vocal aplomb. The voice was in terrific shape and his words always well-articulated and audible. His tenor is bright and warm, not a hint of the nasal sound that afflicts some exponents of the role.

Carmen

Don Jose in Carmen for Welsh National Opera, March 2010
Birmingham Post
Gwyn Hughes Jones is a lyric tenor with the required extra vocal heft whose flower aria, passionate yet delicate, was the highlight of the evening.
Don José in Carmen for Den Norske Opera, May 2009
Dagbladet
Playing the part of Don José is Gwyn Hughes Jones. A major improvement from Aleksanders Antonenko, Jones has lighter and far superior voice, in addition to a wider repertoire of theatrical representation.

Rigoletto

Duke in Rigoletto for Welsh National Opera, May 2005
The Guardian
But it was a metaphorical shot in the arm that turned this opening night of Welsh National Opera’s revival into a memorable occasion when, at a few hours’ notice, tenor Gwyn Hughes Jones replaced an indisposed Duke, and from his very first aria signaled just what a vocal force he has become. Three years ago when this staging was new, Hughes Jones sang the role on WNO’s tour. With a more confident swagger and high notes now as robustly rich as the lower (he was originally a baritone), he was able to make the presidential figure of Macdonald’s concept more viable. His fix is women, the need is clearly insatiable, but it was possible to believe that in Gilda he found love, if only briefly, and Hughes Jones achieved a touching tenderness here.
Duke in Rigoletto for Welsh National Opera, May 2005
The Times
Hats off for revisiting with such ringing vim – steady top notes, decorative gulps and all.

Nabucco

Ismaele in Nabucco for the Metropolitan Opera, New York, April 2004
New York Times
Ismaele the beefy-voiced tenor Gwyn Hughes Jones.
Ismaele in Nabucco for the Metropolitan Opera, New York, April 2004
San Francisco Chronicle
The Welsh tenor Gwyn Hughes Jones lent his strong, ringing voice to the part of Ismaele.
Ismaele in Nabucco for the Metropolitan Opera, New York, April 2004
Mondo Marion.com
Tenor Gwyn Hughes Jones brought fine intonation and a healthy, compact tone to the role of Ismaele.

Werther

Title Role in Werther for Opera National de Lyon, May 2003
www.andante.com
Welsh tenor Gwyn Hughes Jones showed himself to be an important young talent. He possesses a heroic instrument, a good feel for the French language and musical idiom, and the ability to shape and deliver musical phrase with authority. His technique is remarkably secure for a singer so early in his career.

The Elixir of Love

Nemorino in The Elixir of Love for Welsh National Opera, February 2003
The Guardian
Of his arias (all intelligently phrased and clearly articulated), the plea to Adina to reconsider is the most touching.

Don Pasquale

Ernesto in Don Pasquale for Florida Grand Opera, May 2002
Sun Sentinel
The tenor from Wales, Gwyn Hughes Jones was a sensation. Jones has a distinct Italianate sound. And it’s big, very big indeed. He has a ringing top and a lovely head tone. The voice is broad and commanding. Everything he sings flows out on the breath with ease. He delivered with Bel Canto that I’ve never heard before, especially from a tenor, who often force the voice. The audience gave him a roar of approval at the end. What a great debut and I trust not the last time we’ll hear him in South Florida.

Concerts / Recitals

Concert Performance Duke of Mantua in Rigoletto for Minnesota Orchestra, July 2012
The Pioneer Press
In each instance, tenor Gwyn Hughes Jones made it rich and robust
Concert with Dundee Choral Union, Caird Hall, Dundee, December 2010
Dundee Courier
Making a positively magical and unforgettable contribution to the evening was tenor Gwyn Hughes Jones. His was the essence of a top operatic performance and, with respect to the members of the DCU, I would say he was the hit of the evening. What I liked about him was his decision not to perform the standard hits of eth repertoire, but concentrate on some less familiar arias. His O Souverin from Massenet’s Le Cid was sensational as was Di Quella Pira from Il Trovatore, where his pauses occasionally caught out conductor Norman Beedie. However these were surpassed by a stunning arias from Gounod’s Faust. And as for his final Nessun Dorma – the ovation very nearly lifted the roof - both times!
Purcell Room Debut, London
Opera Now
And it was accomplished. The tone, very pure and finely concentrated, held its line with never a loosening of vibration, yet neither was it done in the horrid modern fashion of eliminating the voice’s natural vibrato completely. Nor at any time did this debutante tenor show any disposition to follow the bad example of those among his seniors who give each note its little individual swelling. The legato here was genuine; as near faultless as any heard in recent recitals.

Recordings

Macbeth Recording for Chandos
The Telegraph
Gwyn Hughes Jones’s plangent Macduff.

This Artist Biography was last updated on 26 June 2015. It is our policy to update biographies every six months. If this information is to be used after 26 December 2015 please contact us and we shall be delighted to supply you with the latest version by return.