Reviews
Aida with Union Avenue Opera:
“Baritone Jacob Lassetter saved the show when the scheduled Ramfis withdrew on scant notice. Lassetter learned the entire role in less than a week—the Egyptian high priest appears in all four acts—and delivered a priestly gravitas.”
Benjamin Torbert — KDHX
“Jacob Lassetter fills the High Priest with appropriate power and dignity.
Steve Callahan — BROADWAY WORLD
“Jacob Lassetter mastered the role of the High Priest, Ramfis, on short notice.”
Gerry Kowarsky — HEC MEDIA
“Jacob Lassetter steps in admirably as the Egyptian high priest, Ramfis.”
Mark Bretz — LADUE NEWS
Carmen with Union Avenue Opera:
“"St. Louis favorite Jacob Lassetter sings Zuniga, José’s superior officer. He’s always a strikingly strong figure on stage—with a rich baritone voice."
Steve Callahan — BROADWAY WORLD
"Lassetter presents his Zuniga with a big-throated blend of authority and moral ambiguity and a performance that captures the character’s commanding presence and underlying conflict."
CB Adams — POPLIFESTL
"Baritone Jacob Lasetter is properly cynical at the ethically flexible Lieutenant Zuniga."
Chuck Lavazzi — KDHX
Il tabarro with Marble City Opera:
"Playing the villain was nothing new for baritone Lassetter, having made a feast of the evil Scarpia in MCO’s Tosca. Lassetter’s baritone is rich and moody, the perfect vehicle for Michele’s latent evilness, which in fact, oozes from him, to the audience’s gruesome delight, in the opera’s finale."
Alan Sherrod — ARTS KNOXVILLE
Don Giovanni with Winter Opera Saint Louis:
“Lassetter has a stage presence that radiates power; he’s a striking figure, and with a strong voice to match. No wonder the girls fall for this Giovanni.”
Steve Callahan — BROADWAY WORLD
“Baritone Jacob Lassetter clearly enjoyed his role as the nefarious, self-aggrandizing title character, bringing out the best in the other players… Lassetter also handled Giovanni’s arias with considerable aplomb, enhancing the show’s lyrical value.”
Mark Bretz — LADUE NEWS
“Don Giovanni’s nonchalance about his baldness was a stunning example of his utter self-assurance. It was fully embodied in Jacob Lassetter’s swaggering performance.”
Gerry Kowarsky — HEC MEDIA
“Throughout, Lassetter’s portrayal demonstrated tremendous range as well as nuance demanded by Mozart’s composition.”
CB Adams — POPLIFESTL
The Desert Song with Winter Opera Saint Louis:
“As Ali Ben Ali, baritone Jacob Lassetter displays the same surprisingly potent low notes that so impressed me in his Ford at Union Avenue Opera’s “Falstaff” last August.”
Chuck Lavazzi — KDHX
“Ali is powerfully played by [baritone] Jacob Lassetter.”
Steve Callahan — BROADWAY WORLD
“Jacob Lassetter is splendid as the Arab leader, Ali Ben Ali.”
Mark Bretz — LADUE NEWS
La rondine with Winter Opera Saint Louis:
“Rambaldo is sung by baritone Jacob Lassetter. Rich in voice, bald, with a trim beard, he resonates power and the confidence that comes with old wealth-but he also shows the gentleman's restraint appropriate for the role.”
Steve Callahan — BROADWAY WORLD
"Nicholas Huff and Jacob Lassetter are well cast as Prunier and Rambaldo, both have strong resonant voices and can easily command attention when the scene warrants."
Tina Farmer — RIVERFRONT TIMES
Falstaff with Union Avenue Opera:
“Baritone Jacob Lassetter’s voice packs a serious punch in Ford’s big “revenge” monologue ‘È sogno? o realtà…’”
Chuck Lavazzi — KDHX
“Helping the opera go native are real-life husband and wife Jacob Lassetter and Karen Kanakis. Starring as Ford and his wife Alice respectively, their real-world synergy adds to the depth of their characters while also infusing some whimsical charm into the opera.”
Rob Levy — REVIEWSTL.COM
Tosca with Marble City Opera:
“Jacob Lassetter sang the role of the evil Baron Scarpia with a delicious solidity. This was a captivating performance that took the character not just toward the usual quasi-Fascist lecherousness, but even further, suggesting an interestingly quirky, sadistic perversion. Sporting a claw-like ring gave his hand movements a devil’s dance-like quality.”
Alan Sherrod — ARTS KNOXVILLE
Die Fledermaus with Winter Opera Saint Louis:
“Baritone Jacob Lassetter held the stage as the scheming Falke.”
Sarah Bryan Miller — ST. LOUIS POST-DISPATCH
“Jacob Lassetter was agreeable as the scheming but good-natured Dr. Falke”
Mark Bretz — LADUE NEWS
H.M.S. Pinafore with Union Avenue Opera:
"Baritone Jacob Lassetter shows a remarkable lower register as the despised Dick Deadeye, a role usually assigned to a bass."
Chuck Lavazzi — KDHX
“Jacob Lassetter brings a resonant bass-baritone to the mustache-twistingly villainous Dick Deadeye.”
Daniel Neman — ST. LOUIS POST-DISPATCH
“Jacob Lassetter has great fun as the show’s villain…Dick Deadeye.”
Mark Bretz — LADUE NEWS
"Dick Deadeye, in the person of Jacob Lassetter, is another who brings a beautiful touch of melodrama to the Pinafore. Fine work."
Steve Callahan — BROADWAY WORLD
The Student Prince with Winter Opera Saint Louis:
"Baritone Jacob Lassetter was touching as Ruder, the innkeeper."
Sarah Bryan Miller — ST. LOUIS POST-DISPATCH
Borgia Infami with Winter Opera Saint Louis:
"Rodrigo, the Pope, is sung by baritone Jacob Lassetter. He brings fine vocal power and great dignity to this prince of the Church."
Chuck Lavazzi — KDHX
Hänsel und Gretel with Union Avenue Opera:
“As the broom maker Peter, Jacob Lassetter offered a big baritone and a likable presence.”
Sarah Bryan Miller — ST. LOUIS POST-DISPATCH
“As the children’s father, Jacob Lassetter made a grand entrance from the rear.”
TWO ON THE AISLE
Madama Butterfly with Annapolis Opera:
“Jacob Lassetter plays Sharpless the Consul with a quiet strength, caught in a difficult situation…the sadness of his task is clear in his voice.”
Charles Green — DC METRO THEATRE ARTS
“Slayden and Jacob Lassetter (Sharpless, the U.S. consul) maintained impeccable control of their voices.”
Kaley Beins — MD THEATRE GUIDE
“Jacob Lassetter played [Sharpless] with suitable gravity, a mixture of calmness and good-natured frustration. I saw and heard aspects of the character which I had never realized before.”
SPEAKINGOFOPERA.COM
La Traviata with Opera Theatre of the Rockies:
“Matching Annamarie [Zmolek’s Violetta] with musical and theatrical impact was baritone Jacob Lassetter as Germont, the father of her lover Alfredo…Lassetter's powerful presence and unrelenting commitment to the musical genius of Verdi made the Act II encounter between the courtesan and himself, the most stunning part of this Traviata. It was a treat anytime our baritone appeared on stage.”
David Sckolnik — COLORADO SPRINGS GAZETTE
“As Giorgio Germont, the father that comes between them, Jacob Lassetter has a commanding stage presence and a ringing, authoritative tone.”
Mark Arnest — COLORADO SPRINGS GAZETTE
Verdi’s Requiem with Peninsula Music Festival:
"The four vocal soloists were very good. I especially liked [Jacob] Lassetter's deep baritone."
Marty Lash — DOOR COUNTY ADVOCATE
Le Nozze di Figaro with Peninsula Music Festival:
"All of the singers were very fine, but I was particularly impressed with Jacob Lassetter, who was a bold and commanding Figaro."
Marty Lash — DOOR COUNTY ADVOCATE
La Traviata with Music by the Lake:
“Baritone Jacob Lassetter made Alfredo’s father, Germont, less a caricature of bourgeois stuffiness and more a figure of understandable dignity, even sympathetic.”
John W. Barker — THE WELL-TEMPERED EAR
“Jacob Lassetter, who sang the role of the father of Alfredo, has a powerful voice.”
Jim Edwards — AURORA TRIBLOCAL
Beethoven’s Symphony no. 9 with The Lexington Philharmonic:
“Baritone Jacob Lassetter’s ringing clarion call was as true as a trumpet’s.”
Loren Tice — LEXINGTON HERALD-LEADER
Carmina Burana with The Lexington Philharmonic:
“Baritone Jacob Lassetter negotiated extreme high ranges with a richness of tone that beggars the imagination.”
Loren Tice — LEXINGTON HERALD-LEADER
Così fan tutte with the Cincinnati Chamber Orchestra:
“Baritone Jacob Lassetter was gleefully misogynistic as Don Alfonso.”
Mary Ellyn Hutton — MUSIC IN CINCINNATI
Carmina Burana with the San Antonio Mastersingers:
"[Jacob] Lassetter's warm, vibrato-flecked baritone was properly tipsy in the tavern songs and effectively switched sonic gears in the alternating octave passages of ‘Dies, nox et omnia.’"
SAN ANTONIO EXPRESS NEWS