Les Noces (Chorus Pro Musica)

"What came through, though, was quite fine...the men, as is often the case at weddings, were more keyed up: tenor Jonas Budris bright and intense, baritone Andrew Garland dark and determined."

Matthew Guerrieri, The Boston Globe

Aleko (Commonwealth Lyric Theater)

Jonas Budris’s callow Young Gypsy gave silvery point to his song about trying to fix the moon (a metaphor for love) in one place.

Jeffrey Gantz, The Boston Globe

As the doomed couple, Zemfira and the Young Gypsy, soprano Knarik Nerkararyan and tenor Jonas Budris, respectively, formed a winning combination. Nerkararyan’s account of Zemfira’s song taunting Aleko seethed with spite and power, while Budris’s delivery of the Young Gypsy’s romance was sweetly lyrical and appealingly poetic. Both of these young singers, one expects, have bright futures ahead of them.

Jonathan Blumhofer, The Arts Fuse

Saint John Passion (Emmanuel Music)

"[The] superb young tenor (last year’s Lorraine Hunt Lieberson Fellow) Jonas Budris did some particularly imaginative singing in the tenor solos."

Lloyd Schwartz, New York Arts

Giver of Light (Guerilla Opera)

Throughout the opera, Budris revealed his acting versatility through his character’s emotional tumults, and in the third scene aria, particularly, the light agility of his honeyed tenor stood out.

Joseph E. Morgan, Boston Musical Intelligencer

Jonas Budris’ dynamic and sweet-sounding tenor voice was well suited for John’s wide emotional range.

Aaron Keebaugh, The Classical Review

Handel's Chandos Anthem No. 8 (Boston Baroque)

The vocal soloists, all drawn from the chorus, were uniformly gratifying, from alto Kamala Soparkar as the narrator at the beginning of the Carissimi to tenor Jonas Budris at the end of the Handel.

Jeffrey Gantz, The Boston Globe

But the spotlight was stolen by tenor Jonas Budris, whose confident flights into the vocal stratosphere drew startled applause from the house (Budris pulled the same trick with Handel and Haydn last Christmas). It was a sweet capstone to an evening that above all else demonstrated how high the local vocal talent can fly.

Thomas Garvey, Hub Review

Equally brilliant and a bit more intense was the steely voice of tenor Jonas Budris, whose joyous delivery of “For look, as high as the heaven” almost made the audience forget completely that they were in their third hour of listening; and, as the penultimate song on the program, it gave one last burst of soloistic light before the final chorus.

Tom Schnauber, Boston Musical Intelligencer

Bach Christmas Oratorio (Handel & Haydn Society)

Last (and possibly best) came young Jonas Budris, whose tenor only seemed to grow in power as it soared, and who brought the entire concert to a compelling close.

Thomas Garvey, The Hub Review

Tenor Jonas Budris perhaps offered the finest performance of the evening in his dramatic and even fiery offering of the recitative So geht! and its accompanying aria Nun mögt ihr stolzen Feinde schrecken.

Aaron Keebaugh, Boston Classical Review

Il ritorno d'Ulisse in patria (Boston Baroque)

The three suitors, sung by Jonas Budris, Ulysses Thomas, and Owen McIntosh, were each fine singers in their own rights and together created a relentlessly comedic atmosphere. Their expressions, inflections, and comportments were over-the-top in the most entertaining way.

Melanie O'Neill, Examiner.com

"[L]ocal stars Sonja DuToit Tengblad, Jonas Budris, Ulysses Thomas, and Owen McIntosh - all were dazzling."

Thomas Garvey, Hub Review

A Little Night Music (Emmanuel Music)

Still, there were many pleasures. Besides Torgove, Kravitz, and Steinbach, there were Dana Whiteside as Count Carl-Magnus… and Jonas Budris as Egerman’s unhappy son Henrik, a stumbling divinity student desperately but silently in love with his young step-mother. These artists combined strong vocal performances with convincing acting.

Lloyd Schwartz, New York Arts

Heloise and Abelard (Boston Modern Orchestra Project)

The comprimario parts were taken by Harvard alumni; of note were tenor Jonas Budris’s incredible squillo, and Bridget Haile’s resonant mezzo-soprano.

Angelo Mao, Boston Classical Review