Martin Bror Hoffmann – What a voice! when you started "Comfort ye" it didn't take more than 8 seconds before I thought - he has to sing to me every day. It is rare that mimicry, voice, tonality and totality coincide so beautifully. Together with the soprano Mette-Maria Øyen, you performed this beautiful performance of Messiah.

Sange i Nyt Lys – CD med Carl Nielsen Trio – 2016

Torben Enghoff – Author of e.g. the book: "Carl Nielsen - An overview": Many thanks for the CD "Songs in New Light". Heard a bit of it at one of the Carl Nielsen Society's meetings and immediately thought I had to have it. It's a great selection of songs. I have always been enthusiastic about your song and have used your recording of "Havet omring Danmark" (with the Aalborg Symphony Orchestra) at my lectures on Carl Nielsen. You can simply hear that you really like the music!

Koncert – Duomo di Cortona – 2016

Antonio Aceti, L´Etruria: The concert with the tenor Jan Lund and the organist Giacomo Benedetti in Cortona Cathedral on 20 August 206 was a great audience success. (All seats were occupied). The ten works for song and organ took us on a European journey through time and music. After beautiful notes in religious silence, the singer brought us to an explosive finale, which triggered a raucous applause demanding several encores.

Die tote Stadt – The Dallas Opera – 2014

North Texas Performing Arts Review: Marietta´s madcap group of revelers always brings some relief to the overall gloom of the opera. In this production they are a standout. They enter from the back of the house, as though they come from some other world than what is on stage, and slowly make their way into the action. Their antics are grotesquely exaggerated, as they should be in a dream, and all of the voices are strong, as that of Jan Lund singing Victorin.

The Column, Dallas: The rest of the cast create very believable characters from their roles, and each has a unique and distinct voice, as that of Jan Lund singing Victorin, helping to make the production vocally flawless.

Madama Butterfly – Opera Hedeland – 2013

Skånska Dagbladet: Scenic and musically of a high class (...) Jan Lund lets Goro be well-sung and well-acted and delightfully understated.

Berlingske: Jan Lund's opportunistic matchmaker Goro is an unforgettable type.

Messias – Copenhagen Oratoriochoir – 2012

Kristeligt Dagblad: (...) four excellent singing soloists (...) on the men's side, Jan Lund with his large and dramatic tenor voice was a big plus.

Sange i Nyt Lys – CD med Carl Nielsen Trio, DanaCord 2012

MusicWeb International: Jan Lund is a well-known Quantity from other recordings (…) He sings here with just the right degree of artless simplicity, not trying to make too music of these basically straightforward songs (…) The slow “Shall flowers all then wither?” is heavenly in this treatment with the flute floating above the vocal line (…) This is a charming, very well contrasted and altogether unexpected collection – a shame it couldn´t have been longer.

John Christiansen: Jan Lund sings the 19 songs expressively, so the variation in Nielsen's music comes through nicely. It has become both exciting and nuanced.

Fono Forum (German): Between Mehler and Chanson; (...) The texts tell small stories, biblical and verse, and Jan Lund bears his big part in this. With controlled vibrato and without pathos, he sings the songs. He lets himself be carried and led by the melodies, only adds necessary accents and no more. Beyond that, he varies the expression with the voice. The mood on the CD varies between lighter sadness and a lighter feeling of happiness (...) The Carl Nielsen Trio really lets Nielsen's songs shine in a new light.

Orpheus´68 – Holstebro Musikteater, 2012

John Christiansen: The Danish team of singers does it absolutely superbly. (...) As Orpheus in the piece, Jan Lund had lovely baroque tenor singing to offer (...) It is actually rare that you get such a good group of singers in the same opera.

Fyens Stiftstidende: The role that can be sung by Jan Lund, who with his extensive stage experience and lyrical tenor fills his role beautifully.

Gregers Dirckinck-Holmfeld: The participating singer staff speaks with conviction about the breadth and quality among Danish opera singers (...) Orpheus is certainly sung by Jan Lund.

Wilde´s World – CD m. Faye Ellen Silverman verker, indspillet 2011

IAWM Journal: Wilde’s World; for tenor, viola, and guitar, commemorates the 100th anniversary of Oscar Wilde’s death, and is a setting of Wilde’s poem “Roses and Rue”. Silverman uses melismas and ornaments to depict the cultural ambience of late nineteenth-century art and music. The frequent use of melismas in the tenor part remind one of Britten’s operatic arias. The work is beautifully performed by Jan Lund, violist Ninnie Isaksson, and guitarist Kristian Gantriis. The trio features three very distinct and independent but supportive lines, yet with tone and color they appear to perform as one entity. The piece is generally through-composed with musical repetition mirroring Wilde’s word repetition. Both the text and music touchingly depict a failed relationship and its accompanying sadness.

Angelo – Pakhus 11, København, 2012

Jyllands Posten: The nine singers on stage create flow in the cheerful scenes at the bar, at the wedding and in Lucia's bedroom (...) and Jan Lund convinces as the groom Domenico del Monte.

Gregers Dircknick-Holmfeld: Strongly Possessed – the singing cast is very strong with (…) tenor Jan Lund as the furious groom Domenico del Monte.

Maria de Buenos Aires – Den Fynske Opera/Opera Midt, 2011

Politiken: Equipped with sharp hats and strong booze in the glasses, the spirit of the tango in the form of the singers Jan Lund and Thomas Storm Hansen delivers the commenting perspective in Danish....With a combination of skinlessness and professionalism, the actors create a version of Piazzolla's opera that holds the audience in a well-functioning dance move towards the happy decision.

Madama Butterfly – Den Fynske Opera, 2011

Jyllands Posten: It was a good group of singers, who must be praised for the clarity of the lyrics, which was better than most of the time. (...) Jan Lund was an ideal, restrained sleazy marriage broker Goro.

Gregers Dirckinck-Holmfeld: Likewise, other roles are also well filled, the sleazy Goro, Japanese matchmaker turned Lithuanian hotel host, in the hands of the effective spieltenor Jan Lund.

Koncert m. CarlsVognen – Utzon Center Aalborg, 2011

Nordjyske Stiftstidende: Jan Lund's tenor has gained more fullness and breadth in recent years, without, however, going beyond his fine sense of textual and lyrical expression. Karen Skriver's flute also filled the stage, both in the textual interaction with Jan Lund and in the characterization of the individual songs. Michael Norman provided a discreet and safe accompaniment for singer and flute all the way.

Sigurd Dragedræber – Den Fynske Opera, 2011

Fyns Stiftstidende: All four are vocally excellent in each of their roles. It is sung powerfully, but with a text pronunciation that nicely matches Nørgaard's tongue-in-cheek libretto, but also beautifully lyrical in the melodious duets between Odin's graceful raven and Sigurd (Jan Lund).

Die Tote Stadt – Den Jyske Opera, 2010

Weekendavisen: With the tenor Jan Lund as the master of ceremonies Victorin (...), the carefree regiment is well occupied.

Tryllefløjten – Det Kongelige Teater, 2010

Berlingske Tidende: ... while the tenor Jan Lund's Monostatos as a sex-hungry black jailer nicely contributed to the Egyptianized antics with his handsome bald head.

La Fanciulla del West – Den Jyske Opera, 2009

Weekendavisen: A very special performance is the tenor Jan Lund as Minnie's disc jumper Nick, nimbly limping and with a world-class moustache, a polished echo of Scarpia's affable henchman Spoletta from Tosca. Over the course of the three acts, we get to experience Nick ranging from loving himself to sadistic joy and back again.

Jyllands Posten: It is unfair to name a few of so many good singers, so it must be a list that starts with Jan Lund's exciting bartender Nick.

Poppeas Kroning – Det Kongelige Teater, 2008

Gregers Dirckinck-Holmfeld: We must not fail to mention that, by the way, the singing and acting are performed with considerable nerve, occasionally terrific by e.g. Jan Lund.

Oliver! – Tivoli København, 2007

Weekend avisen: ...On the other hand, Jan Lund's insanely creepy undertaker Mr. Sowerberry and his black-tarred carcass pure goof…

Acis og Galatea – Innsbruck Landes Theater, 2007

The art of culture: Musically, the opera was surprisingly well cast. Mathias Hedegaard as Acis and Jan Lund as the well-mannered Damon especially thrilled with confident intonation and convincing acting talent.

Kærlighedens Labyrint – Aalborg Operafestival, 2007

Aalborg Stiftstidende: The greatest experience of the evening was [...] the duet from Manon sung by soprano Charlotte Meldgaard and tenor Jan Lund; both nailed the sensitive and mildly elegiac tone that they are sure to carry into the finale.

Madama Butterfly –Rialto Teatret København, 2007

Jyllands Posten: There is also a fully cast and fine figure from Jan Lund as the smooth matchmaker Goro.

Skånska Dagbladet: The tenor Jan Lund as the marriage broker Goro sings well and acts confidently. Especially the silent, psychological conflict with Suzuki, they both handle excellently.

To mand frem for en diva – DogmeOpera.dk

Jyllands-Posten 24-01-2007 about DogmeOpera's performance in Turbinehallen, Århus: DogmeOpera brings seriousness and fun together, the cheerful antics and the serious balanced in good balance. Both Elsebeth Dreisig and Jan Lund have recently developed their voices towards a volume-wise more demanding and dramatically demanding roles, and here they sing the dramatic Italian parts without worries of any kind (John Christiansen).

Fyns Amts Avis 23-10-2006: The audience responded with a standing ovation after the last number at the Danish premiere of DogmeOpera's new performance. A great experience in every way. Jan Lund with his great tenor voice and Elsebeth Dreisig with her lovely bright soprano and an equally well-versed and skilled pianist Thomas Rischel took the audience on a wonderful musical tour in "To mand flemfor en Diva", from excerpts from Carmen to evergreens by Kai Norman Andersen. Mixed with good humor.

Askepot – Den Fynske Opera, 2006

Politiken: Jan Lund is remarkably confident in his professional delivery of the opera's second major role as the prince.

Børsen: Prins Ramiro is Jan Lund with effective sound development and lively playing.

Odysseus – Det Kongelige Teater, 2005

Week-end avisen: A magnificent performance is Jan Lund's both youthful and melancholic Telemaco, sung with a close and sonorous voice.

Politiken: Telemaco's breathtaking account of his meeting with the beautiful Helene is allowed to be left alone, and goes straight into Jan Lund's beautiful and stylish delivery.

Skånske Dagbladet: As Telemaco, the tenor Jan Lund was a resounding success. His bright and powerful tenor had the right timbre for Baroque music in particular.

Aftonbladet: With soloists like Bo Skovhus in the title role and Jan Lund as Telemaco, it doesn't get any better.

Simsalábad – Den Anden Opera, 2005

Berlingske Tidende: As the lover, Jan Lund has never sung better.

Matthäuspassionen – Sorø International Music Festival, 2004
Week-end avisen: Among the singing soloists, it was a unique breakthrough for the tenor Jan Lund as the evangelist.

Rhinguldet – Den Ny Opera, 2003

Politiken: Jan Lund's linked dwarf Mime is a little gem of well-crafted precision.

Jyllands Posten: People listened intently to Jan Lund's Mime, who made promises of big parties.

Berlin to Broadway – Nordjyske Operakompagni, 2003

Nordjyske Stiftstidende: The tenor Jan Lund in particular manages to charm the audience with his gift-stealing gaze and his timing, which is worthy of a true comedian.

Jyllands Posten: Jan Lund is the beautiful singing tenor.

Falstaff – Den Jyske Opera, 2003

Jyllands Posten: In the final image, Elsebeth Dreisig as a sweet Nannette and Jan Lund as a confident Fenton lead the way through the opera's lyrical resting points

DogmeOpera – Den Jyske Opera, 2003

Jyllands Posten: Jan Lund has developed both his talent as an entertainer and his tenor.

Århus Stiftstidende: the three actors deliver a string of fine, fine performances – also moments of touching poetic, quietly vibrating affection.

Fru Nissen i Lavendelstræde – Den Jyske Opera, 2002

Børsen: Weyse is played and sung by Jan Lund. As this excellent tenor is also a trained pianist, we get live music on stage.

Jyllands Posten: Jan Lund shows that he is also an excellent pianist.

Madama Butterfly – Den Jyske Opera, 2002

Berlingske Tidende: Jan Lund somehow gets his breakthrough as the bailiff Goro. Singing, he shines with equality and striking fullness.

Barberen i Sevilla – Den Fynske Opera, 2001

Jutland West Coast: Count Almaviva is given vital life by the experienced tenor Jan Lund, who, in addition to his good voice, also reveals a fine comic talent.

Mozart og Salieri + Olympias hævn – Århus SommerOpera, 2001

The Mozart of Rimsky Korsakov and the over-replicant of Erik Bach are played with enormous power by Jan Lund. His lyrics are crystal clear, and he can indeed play the piano too.

Cosi fan Tutte – Den Fynske Opera, 2000

Fyns Stiftstidende: All three men, Håvard Stensvold as Guglielmo, Jan Lund as Ferrando and Jesper Buhl as Don Alfonso delivered nothing less than powerful performances. The most fantastic was probably Jan Lund, his voice potential and physique go a long way.

Salome – Den Jyske Opera, 1999

Politiken: The elegant Jan Lund takes a new big step towards the lyrical tenor profession.

Berlingske Tidende: It is worth highlighting Jan Lund as the young Narraboth who takes his own life. With an extremely sensitive and strong tenor sound and exactly the nervousness in the radiance that explains his suicide

Maria Paradis – Den Fynske Opera, 1999

Politiken: Jan Lund's happy jumping guy of a young Mozart is charming, safely characterized and beautifully sung.

The Lighthouse – Muziektheater Transparant, 1999

Opernwelt: Jan Lund, the dazzling young Danish tenor, created the right mood with his sultry love lament.

The Times: Jan Lund is outstanding for his sensitive Sandy.

Tryllefløjten – Den Jyske Opera, 1998

Politiken: We must mention the pleasant surprise that Jan Lund is well on his way to becoming a fine Mozart tenor. His timbre has gained more fullness and color, and with a lovely effortless technique, a text processing in a special class, an incredibly sensitive nuanced declamation and a thoroughly musical lecture, he makes Tamino the most alive and relevant figure in the crew.
Jan Lund's Tamino was undoubtedly the most beautiful and captivating performance of the evening.

Aalborg Stiftstidende: It was especially an experience to hear Jan Lund as Tamino, a born Tamino voice that was allowed to realize itself here

Fyrtårnet – Den Anden Opera, 1997

Information: you cannot get tired of praising the three singers for an extraordinary performance. Jan Lund, Jesper Buhl and Jens Bruno Hansen. Each of them gets so far in the ropes that, in addition to admiring their vocal qualities, you also think of them as dramatic talents.

Lastens Vej – Den Jyske Opera, 1996

Berlingske Tidende: In the role of Tom Rakewell, you could enjoy a stage-assured Jan Lund, whose voice also went the distance with a sometimes even very beautiful sound.

Fyns Amts Avis: Jan Lund as Tom Rakewell sang wonderfully.

Hans Egedes Natt – Festspillene i Nord-Norge, 1995

Northern Lights: Not least Jan Lund made an unforgettable figure as King Chr. VI in the middle part of the opera. With its impressive entrance hanging in a picture frame to accompany e.g. cash register and jingling coin, this became the opera's funnest department.

Den sidste Virtuos – Den Anden Opera, 1995

BT: Jan Lund is more than excellent as the awkward son, who briefly blossoms into a heroic Odysseus.

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