In the Verdi Requiem
"Tenor Wolverton is a dream singer, able to bring to Verdi’s lushly written solos musical empathy."
Ontario Record
As Mascagni's Silvano
"The one singer really at home in this style is Joseph Wolverton as Silvano. Gifted with a lucid, plangent timbre, his tenor runs the emotional gamut from gentle to defiant; he knows how to use portamento and other staples of verismo vocabulary, how to shade vowel coloration to give the words meaning, how to arch a phrase and taper a note. For his idiomatic delivery alone, the disc is well worth investigating."
Opera News
"In the title role Joseph Wolverton's conviction and classic Italian tenor sound prove real finds: with such credentials he should be heading for an international career."
Opera Now
"The vocal star is certainly Wolverton, who seems to have a splendid voice (my wife assumed he was Domingo) and uses it with skill and imagination. I shall keep my eye on him."
Fanfare
"Joseph Wolverton makes a fine Silvano, with a muscular delivery and smooth transitions between registers."
Star Ledger
As Pinkerton in Madame Butterfly
“For believability on stage, few are better than tenor Joseph Wolverton as Pinkerton. A familiar face with Opera Grand Rapids, he brings considerable depth to the character of the brash officer. When he realized in the end how badly he’s hurt the young geisha, Cio-Cio San, his anguish was heartfelt.”
The Grand Rapids Press
"...and tenor Joseph Wolverton brought powerful and gorgeous voices to the production."
The Daily Gazette
"He cut loose with a wonderful resonance and volume to reach the aria's passionate high notes."
The Post Star
As Tamino in Magic Flute
"Yet the prize for vocal nuance must go to tenor Joseph Wolverton, a heroic, manly Tamino, singing with liquid ease".
American Record Guide
As Hoffmann in The Tales of Hoffmann
"Joseph Wolverton, who plays the aging poet, is tested as a vocalist, but certainly not to his limits. He was still going strong after singing ever so many tales with robust, flexible and colorful tenor that would grace any barroom. Wolverton's good supported legato made his languorous solos especially appealing, but in others he had plenty of punch and bite. Here also, was a singer with a natural theatrical instincts. He did full justice to the role."
The Oak Ridger
As Alfredo in La Traviata
"Tenor Joseph Wolverton is also an outstanding actor...when he sang out, Wolverton was exciting to hear and watch."
Rocky Mountain News
Joseph Wolverton was a sturdy and ardent Alfredo...Wolverton's voice had an attractive lyric quality. He was at his best in the dramatic confrontation with Violetta in Act II.
Trenton Times
"Tenor Joseph Wolverton approached Alfredo with affectation, singing effortlessly."
Opera News
"The role of her lover, Alfredo Germont, was sung by tenor Joseph Wolverton, a Luciano Pavarotti Award winner, who clear high notes were reminiscent of the famous Italian singer."
Albuquerque Journal
As Ferrando in Così fan tutte
"...when Joseph Wolverton's Ferrando sings his sweetly affecting 'Un'aura amorosa'... Wolverton's seemed perfectly cast as Ferrando, the starry-eyed romantic. His sweet tenor in the duet with Fiordiligi was enough to melt any woman's heart."
Salt Lake Tribune
As Rodolfo in La Boheme
"Joseph Wolverton was the sweet voiced Rodolfo...he uses his voice with intelligence and a keen sense of musicality. He also cuts a manly figure. He exerted considerable power."
The Standard Post
As Cavaradossi in Tosca
Joseph Wolverton sings deliciously and cleanly, and in the first act he is wonderful as an untroubled artist.
Dagens Nyheter, Stockholm
In his aria, 'E lucevan le stelle', he confirms the rumour being a master of the great Italian tenors parts - he gave a moving interpretation without falling into the excessively grandiose.
Norrbottenskuriren, Luleå
Joseph Wolverton is more of lyric than dramatic, but dispose his part in an intelligent way.
Expressen, Stockholm
Joseph Wolverton´s tenor, combined with both weight and force, made us happy from start. His interpretation was effortless and done with great finesse, where his top notes were memorable. 'E lucevan le stelle' is fantastic and Wolverton gave it an extra dimension.
Dagens Nyheter, Stockholm
"Tenor Joseph Wolverton delivered the best vocal performance. The possessor of a lyric through weighty tenor voice, he climaxed his opening aria ("Recondita armonia") with a high B-flat that showed no hint of forcing."
Ö-viks Allehanda, Örnsköldsvik
In Concert with Doc Severinsen
"tenor Joe Wolverton willingly bore the brunt of the musical action, unleashing his take-it-to-the-bank high notes on an assortment of operatic ("La Donna e Mobile" from "Rigoletto") and light classics ("Be My Love")."
Pittsburgh Post-Gazette
Tenor Joe Wolverton is very talented, with a sure sense of pitch and of dynamics. His diction is also quite good, and, from what was heard Wednesday, he could also sing rapid-fire patter songs. Most of what he sang were the show pieces one expects in a pops concert, such as Rossini's "La Danza" and Brodsky's "Be My Love."
He also sang opera arias "Vesti La Giubba" from Leoncavello's "I Pagliacci" and "La Donna e Mobile" form Verdi's "Rigoletto." It was in the encore, though, that his ability was truly noticeable. This was Calaf's third act aria from Puccini's "Turandot."
The Vindicator
Wolverton is a fine tenor. He sings with ease and resonance, and the effect is charming, as the best Italian singing is.
The Buffalo News