...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.
...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.
...[Scharfman’s] gracious, light-hued baritone...handled matters with a debonair and insinuating touch.
Jacob Scharfman, as the servant Nardo, displayed an attractive, rounded baritone...
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.
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.
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.
...an enticing devil...
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.
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.
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’…
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.’
...high spirits were at play as Jacob Scharfman’s Malatesta plotted with Cheyanne Coss’s Norina against Don Pasquale of the Donizetti opera.
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.
Nardo...is played by Jacob Scharfman who is most expressive in his movements.
Jacob Scharfman brought a rich, ringing baritone and occasional roughness to Mr. Webb.
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.
...wobei vor allem der junge Bariton Jacob Scharfman, aktuell Mitglied im Internationalen Opernstudio, einen nachhaltigen, reifen Eindruck hinterlässt.
Am überzeugendsten wirkten Jacob Scharfman als Gefängniskaplan…