Jacob Scharfman | Baritone


...commanding...an unabashed villain...Scharfman, an eerily still and self-assured manipulator, was himself a kind of visual Shadow...His might and muscle came across vocally in potent, precisely articulated lines.
— San Francisco Classical Voice, Aug 2018.
...Jacob Scharfman showed expert command of the Mozartian open style, his “A forza di martelli” aria about hammers proving a particular highlight in the first act.
— Parterre Box, Nov 2017.
...[Scharfman’s] gracious, light-hued baritone...handled matters with a debonair and insinuating touch.
— San Francisco Chronicle, Aug 2018.
Jacob Scharfman, as the servant Nardo, displayed an attractive, rounded baritone...
— Opera News, Feb 2018.
I was pleased to hear both familiar and new voices. Jacob Scharfman is part of the latter category, and is certain to gain popularity. ...[His] baritone is well-rounded and rich, maintaining clarity and precision throughout his entire range.
— Boston Musical Intelligencer, Nov 2014.
Bringing the program to a stunning close was baritone Jacob Scharfman. [...His] performance was marked by the expansiveness of a generous spirit and a personal involvement with the text and music. There was a lovely resonance to his instrument and fine German diction.
— Voce di Meche, Oct 2017.
Jacob Scharfman was sinister throughout, vocally maneuvering amidst Stravinsky’s violently dissonant arpeggios every time his Nick Shadow appeared and deviously granted Tom’s naïve expression of a wish.
— Berkeley Daily Planet, Aug 2018.
...an enticing devil...
— For All Events, Aug 2018.
Baritone Jacob Scharfman (Boston, MA), as the mysteriously diabolical Nick Shadow, enabler of Tom’s worst instincts, hovered about the action with suitably arch humor. His steady and controlled sound was nicely nuanced and always audible.
— Bay Area Reporter, Aug 2018.
For Scharfman, a baritone from Boston, the [job] was to sing big, dramatic arias of seduction and threats while lurking about like the villain in ‘The Drunkard.’ He earned top marks in all.
— San Francisco Examiner, Aug 2018.
Especially memorable were Cheyanne Coss and Jacob Scharfman as Norina and Malatesta in ‘E il dottor non si vede…Pronta io son’ from ‘Don Pasquale’…
— Lively Foundation, Aug 2018.
Soprano Cheyanne Coss and the physically pliable baritone Jacob Scharfman consulted a cell phone in the midst of their scheming from Donizetti’s ‘Don Pasquale.’
— San Francisco Chronicle, Aug 2018.
...high spirits were at play as Jacob Scharfman’s Malatesta plotted with Cheyanne Coss’s Norina against Don Pasquale of the Donizetti opera.
— San Francisco Classical Voice, Aug 2018.
Nardo [was] delightfully inhabited by Baritone Jacob Scharfman. ...[A] memorable moment was Nardo’s courting of Serpetta in several languages; Mr. Scharfman was irresistible in the role.
— Voce di Meche, Nov 2017.
Nardo...is played by Jacob Scharfman who is most expressive in his movements.
— Operawire, Nov 2017
Jacob Scharfman brought a rich, ringing baritone and occasional roughness to Mr. Webb.
— Boston Classical Review, June 2015.


Und Jacob Scharfman beeindruckt gleichermaßen als Willem, Gerichtsdiener und Gefängniskaplan durch seine stimmliche wie darstellerische Wandlungsfähigkeit. Ihm fällt mit der balsamisch ausgesungen Türhüterparabel auch der tiefste Moment des Abends zu.
— Opernwelt, Apr 2019. (EN: “Likewise Jacob Scharfman impressed as Willem, the Court Usher, and the Prison Chaplain through his vocal and dramatic versatility. Indeed his mesmerizing Doorkeeper Parable proved the deepest moment of the evening.”)
...wobei vor allem der junge Bariton Jacob Scharfman, aktuell Mitglied im Internationalen Opernstudio, einen nachhaltigen, reifen Eindruck hinterlässt.
— Tiroler Tageszeitung, Mar 2019. (EN: “…the young Baritone Jacob Scharfman, current member of the International Opera Studio, left an especially lasting and mature impression.”)
Am überzeugendsten wirkten Jacob Scharfman als Gefängniskaplan…
— Bayerische Rundfunk, Mar 2019. (EN: “Jacob Scharfman performed most convincingly as the Prison Chaplain…”)