Press
The Mikado (Mobile Opera)
“In Mobile Opera’s new take on “The Mikado,” The Mikado, aka the emperor of Japan, is an awesomely awful Elvis impersonator in gold platform shoes, mighty pompadour and Vegas-era caped jumpsuit. When Patrick Jacobs as The Mikado in full King mode, swept onto the Mobile Civic Center Theater stage stage in all his glittery glory, the Japanese school girls screamed, shouted and swooned in a scene that the audience won’t soon forget.”
–Mobile Press-Register Tamara Ikenberg, 2013
Hello, Dolly! (LOOK Musical Theatre)
“Jacobs makes Vandergelder a likable character, someone whose gruff bark is far worse than his bite. And he sounds so good in “It Takes a Woman” and the reprise of “Hello, Dolly!”, that you wish he had more to sing.”
–Tulsa World James D. Watts, 2013
Candide (Fresno Grand Opera)
“Patrick Jacobs is strong as the narrator and the whimsical Dr. Pangloss”
–Fresno Beehive Donald Munro, 2012
Don Pasquale (Greenville Light Opera)
“Patrick Jacobs embraces the role of Don Pasquale with gusto and a robust bass.”
–Greenville News Paul Hyde, 2012
Don Pasquale (Mobile Opera)
“King and Jacobs as Malatesta have marvelous conspiratorial chemistry, which especially shines through in a duet in which he instructs her how to properly play the part of Sofronia. They play off each other perfectly as the anticipation of carrying out their silly scheme builds. As Malatesta, the puppet-master of “Don Pasquale,” Jacobs is animated and confident. He often accents his gorgeous singing with a mischievously raised single eyebrow.”
–Mobile Press-Register Tamara Ikenberg, 2012
Sunset Boulevard (Mobile Opera)
“Jacobs, a versatile actor with a marvelous voice, strikes a nice balance between pity and compassion when Norma, Joe and Max visit Paramount. She is greeted by old-timers and a curious cast and crew whose members regard her as a living museum piece. Jacobs’ reprise of “Surrender” allowed us to see Norma through the eyes of C.B. DeMille, who is perhaps a bit wistful for the glory days of silent movies.”
–Mobile Press-Register Thomas B. Harrison, 2011
The Pirates of Penzance (Loyola Opera Theater)
“The daunting role of the Major-General is handled with panache by Loyola alum Patrick Jacobs at both performances. Jacobs presents a delightfully befuddled old officer whose greatest military achievement is getting through the insanely lyrical maze of “The Very Model of a Modern Major-General” without missing a note or a syllable.”
– Times-Picayune, Theodore P. Mahne, 2010
Candide (Mobile Opera)
“Patrick Jacobs handles the roles of Pangloss and the pessimistic Martin with aplomb. He is especially glib when he sings “Dear Boy,” a paean to disease as love’s “badge of honor.” The faces of the chorus said it all, but Jacobs’ character never lost his smile.”
– Mobile Press-Register Thomas B. Harrison, 2010
Sweeney Todd (Mobile Opera)
“Patrick Jacobs wrung every ounce of menace from his character”
– Mobile Press Register, Thomas Harrison, 2010
A Little Night Music (Light Opera Oklahoma)
“Militarily rigid of spine and stentorian of voice as Carl-Magnus, Jacobs was the embodiment of pompous, oblivious and dangerous masculine vanity, which only rendered his sudden, unexpected doubts about Desirée’s preference for Fredrik all the funnier. His bravura rendering of “In Praise of Women” was a highlight of the evening, while he and Loyd deftly played off each other to make the most of Act II’s “It Would Have Been Wonderful”
– The Sondheim Review, Christopher Weimer, 2009
A Little Night Music (Light Opera Oklahoma)
“Jacobs plays Carl-Magnus’s pomp and vigor to the bone, without cartooning his character.”
-Urban Tulsa Weekly, 7/2/2009-7/8/2009
A Little Night Music (Light Opera Oklahoma)
“Jacobs does an excellent job with the self-absorbed Count, whether strutting around like a peacock in full military regalia, or bounding down stairs with his pants around his ankles to challenge someone to a duel.”
-Tulsa World, 6/27/2009, James D. Watts, Jr.
Pirates of Penzance (Light Opera Oklahoma)
“Patrick Jacobs plays Stanley as a man who has locked horns with his liver in mortal combat, and won. Now in the red bluster of late middle age, Stanley, in varying levels of very-drunk, fondly lords over his busload of beautiful daughters, wailing around his newly-bought seaside mansion and its ancestral crypts like a more sober Churchill.”
–Lawton Constitution, 7/2/2008, Jason Rhode
Pirates of Penzance (Light Opera Oklahoma)
“Patrick Jacobs as Major General Stanley zips through his very model of modern major patter song with aplomb, especially since he does it while being dressed by some of his ‘daughters’ on stage.”
–Tulsa World, 6/7/2008, James D. Watts, Jr.
Candide (Light Opera Oklahoma)
“Jacobs’ wry stage presence stuck just the right notes as Dr. Pangloss and Voltaire.”
– The Sondheim Review, Christopher Weimer, 2008
Into the Woods (Light Opera Oklahoma)
“Patrick Jacobs offered well-shaded irony as the Narrator and mixed humor with pathos as the Mysterious Man.
–The Sondheim Review – Christopher Weimer, 2008
La Cenerentola (Fresno Grand Opera)
“and a cheery turn from baritone Patrick Jacobs as the Prince’s valet. (His character’s droll asides were a highlight.)
-The Fresno Bee, 1/23/2007
The Merry Widow (Mobile Opera)
“the unctuous, would-be suitors Cascada (Patrick Jacobs) and St. Brioche (Thomas Rowell), quite nearly steal the show.”
– Mobile Press-Register, Thomas Harrison, 2006
The Sorcerer (Light Opera Oklahoma)
“Jacobs and Golliver bring some grand touches of physical humor to their duet, “Welcome Joy, Adieu to Sadness,” as they reveal the roiling passions beneath their proper facades."
–The Tulsa World, 11/13/2006, James D. Watts, Jr.
Bach’s Mass in B Minor (Tulsa Oratorio Chorus)
“… in the baritone solos — a brief turn during “Et resurrexit” and the aria “Et in Spiritum Sanctum Dominum” — Jacobs sang with power and confidence.”
-Tulsa World, 11/21/2005
The Merry Widow (New Orleans Opera)
“Typical of the genre, ‘The Merry Widow’ has a large cast, and the New Orleans Opera chose well by giving many supporting roles to talented local singers. Of these, Patrick Jacobs of Mandeville is worthy of special mention.”
-The Times Picayune, George Dansker, 4/16/2005
Die Fledermaus (Loyola Opera Theater)
“(Falke) is sung by Patrick Jacobs…with a smooth baritone and a special talent for shifting from comedy to darker mischief.”
-The St. Bernard Voice, 1/25/02
Carmen (New Orleans Opera)
“Baritone Patrick Jacobs’ voice is a major one in the making. His Morales was well sung and acted.”
-The Advocate, 10/14/00
Le Nozze di Figaro (Loyola Opera Theater)
“With appealing stage presence and strikingly handsome features, Patrick Jacobs played Count Almaviva with flair.”
–The Times Picayune, Theodore P. Mahne, 5/23/98
Copland’s Old American Songs (Louisiana Philharmonic Orchestra)
“Baritone Patrick Jacobs offered a strong, bright voice”
–The Times Picayune, Theodore P. Mahne, 5/3/97
The Mikado (University of Southern Mississippi Opera)
“Jacobs…is hilarious and nearly steals the show.”
– The Student Printz, 2/24/94