(…)”János Szerekován, whom I have had the pleasure of experiencing in several oratorio and opera performances in Szeged, Hungary, provided a colorful addition to this Figaro cast. His performance as Basilio convinced me that it is not the ly ric tenor repertoire, but much rather the character tenor roles he is truly at home in. His stage presence has excellent character abilities, he has a genuine feel for comedy, and his voice is perfect for the role. I have high hopes that I may see and hear him in several character roles in the future. I shall never forget his stage entrance, wearing black clerical robes, walking with exaggerated leg movements, and having a red and white checkered kitchen towel hanging out from the pocket of his robes. The character was visibly enforced by the Costume Designer, as Basilio’s costume (and Szerekován’s acting) definitely underlined the motto: “Watch out! Nothing is what it seems.” (…)
(Vivacious, frolicsome Figaro – Opera close-up in the Wine Region of Lower Austria, Author: zsoly, 27-08-2012)
Yes, that is what the spirit of the earth wills: Alva, i.e., Ernesto cannot do anything about it. It is rare to hear a trained lyric bel canto tenor like János Szerekován on a Hungarian stage. The pastel, covered sound and comparatively small voice excludes him from more heroic roles and the possibility of great acclaim from a broad audience, but in the Italian and French lyric tenor roles of the first half of the 19th century (as well as Fenton and Rinuccio, of course), we are very pleased to hear such an intimate voice. Ernesto sings a lot and sings beautifully; I would be glad to listen again to his f-minor aria in one of the most beautiful sentimental parts of The Rake’s Progress; he sings the a-major serenade from Schubert’s Fischermädchen and Mendelssohn’s gondola songs enchantingly; and who wouldn’t treasure in their collection of favorite opera scenes the duet with Norina, with the high C’s sung with great flexibility in the tenor solo! In this performance we finally heard what Donizetti imagined: according to the score, Ernesto is accompanying Norina a sixth lower than she is singing, but this inimitable wedding music sounds as if the tenor, exploring in the extreme heights, gently bows toward the soft, full mezzo solo in the lower register.
(Donizetti: Don Pasquale Szeged, Hungary 2005 – Tibor Tallián – Muzsika )
János Szerekován differs from K.T. in that he was born a Mozart tenor. He sings both arias in his real voice, which makes us realize immediately: Ottavio’s feelings for Anna are honest. While we laugh, we can also sympathize. He makes the „Dalla sua pace” important; K.T. left it out
(Mozart: Don Giovanni Szeged, Hungary 2007 Tamás Márok – Színház.net)
On the positive side, in the formidable role of Lindoro, was János Szerekován. The part of coloratura tenor, as such, was lost in Hungary with József Réti. Szerekován’s portrayal is a fresh splash of colour among the poor replacements offered by the generations after Réti. He approaches the task from the vocal point of view, and quite confidently handles the unusual and technically demanding role. Since he is also fluent in the acting language, he was also given the task of quizmaster, which he honorably fulfilled.
(Rossini: L’italiana in Algeri Budapest, Hungary 2008 Café Momus)
János Szerekován, tenor, was a true phenomenon. He was born in Marosvásárhely, but now sings in Hungary, aweing his audiences with the warmth and beauty of his voice and the precision and nuance of his stylistically perfect performance manner.
(Bach: St. Matthew Passion Craiova, Romania 2007 Anca Florea – Online Gallery )