"The show went on with Jennifer Rowley as her impressive replacement after just one rehearsal... Donizetti denied his heroine the final aria she might normally have been allotted... Still, Ms. Rowley had plenty of other opportunities to shine, as in "Cupa fatal mestizia," her poignantly rendered Act I aria. Throughout, she sang with a fluid, darkly rich voice and expressively conveyed Maria's anguish over her affair with Riccardo and her guilt for betraying her nice-guy husband."
- Vivien Schweitzer, The New York Times, July 26, 2010

"The evening's unexpected visitor was the soprano who took on the title role as the Countess of Rohan, a noblewoman in the Parisian court of Louis XIII who is torn between love for the tenor and obligation to her baritone husband, Enrico.

When rising star Takesha Meshe Kizart became ill and canceled the day before the performance, her understudy, Jennifer Rowley, stepped in with just one rehearsal.

To say that the young singer from Ohio acquitted herself well would be severe understatement. Rowley proved fully equal to the demands of a role that requires both coloratura dexterity and dramatic power beyond the limits of a lyric soprano. She can sing with melting purity, but her voice also takes on an intriguing, dark-tinged color at times...

Perhaps most impressive of all, given the circumstances, was her involvement in the role dramatically and her ability in a concert performance to make the countess's somewhat implausible plight seem compelling.

At the end, her eyes brimmed with tears in response to the cheers from an audience that had filled the tented Venetian Theater despite oppressive heat and humidity."
- Mike Silverman, The Washington Post (AP), July 25, 2010

"Last night the audience again braved the heat to hear the substitute Jennifer Rowley sing Maria for the first time. And she also triumphed. When she first made her appearance with the words "Stringe l'ora: M'udite" it was clear that this was going to be an exciting evening. She shortly followed with the beautiful "Cupa fatal mestizia" and there was no turning back. She exhibited both power and tenderness. Her high notes were clear and confident. Her cabaletta "Ben fu il giorno avventurato" was particularly exciting as was her Act III prayer (without the cabaletta)... Not surprisingly the crowd cheered her on throughout the evening, culminating in ecstatic applause."
- Lewis M. Schneider, Musicweb International, July, 2010

"Jennifer Rowley... sang with only one rehearsal and deserved every bit of applause received and more for her exceptional and very moving work. Her voice is large and luscious, a truly important instrument wedded to wonderful interpretive powers. She is on the road to a great career with major debuts coming up."
- Alexandra Zalska, Playbill Arts, July 30, 2010

"The severely-pressed Maria was miraculously sung by the cover, Jennifer Rowley, on two days notice... this was a thrilling chance, which Ms. Rowley seized with velveteen outpourings that delighted the already overheated crowd."
- Richard Traubner, MusicalCriticism.com, July 31, 2010

"Jennifer Rowley sang with a handsomely textured and richly resonant soprano. She had the role securely in hand... Maria's prayer, Havvi un Dio, with English horn obbligato, was touchingly done."
- George Loomis, The Classical Review, July 27, 2010

"Moments of electricity burst forth when one of the female leads (Jennifer Rowley as Konstanze...) planted her feet and declared victory over a welter of notes...Rowley's mid-weight lyric soprano seemed a bit heavy for Konstanze's intricate music, but hearing a voice of that size move so quickly had something of a Joan Sutherland effect."

- David Patrick Stearns, The Philadelphia Inquirer, 2009

"Rowley confronts the superhuman demands of Konztanze’s challenging music with aplomb. She fashions a stream of affecting sound in the long lyrical lines of “Traurigkeit” and then negotiates the vocal fireworks in “Martern aller Arten” with a blend of passion and discipline."

- Robert Baxter, ConcertoNet, July 2009

"This year, the breakout discovery is the marvelous Konstanze, Jennifer Rowley. Rowley, an attractive, statuesque young lady, currently a part of the apprentice artists program at the famed Teatro Communale di Bologna, is a find. I haven't heard a Konstanze with Rowley's kind of dramatic metal in the voice since Edda Moser. But her tone quality reminded me of the ruby-like soprano of Carol Vaness, and the deep opulence and smooth power of Christine Goerke. Like Vaness, Rowley has admirable flexibility; she nailed several trills, even in the lowest lying parts of the fiendish vocal challenge Mozart set for this role, in the "Traurigkeit ward mir zum Lose". Rowley sailed through "Martern aller Arten" with flying colors...Rowley is one to keep an eye on."

- James Camner, author, Opera-L, July 2009

"Those fortunate enough to see her in the Cleveland Opera’s production of Mozart’s The Magic Flute in a supporting role, or in the Kleist Center’s production of the same work as the majestic Queen of the Night, will surely agree that her lyric voice and commanding presence make her a unique, natural…diva."

- Laura Kennelly, Plain Dealer, February 2006

"…Ms. Rowley’s Zerbinetta stole the show…and after her large aria, graciously accepted her well earned standing ovation…"

"…strong, convincing, and well cast…"

- Asheville Citizen-Times, June 2004

"…Ms. Rowley is a soprano with a unique voice of great warmth and beauty…and is to be commended on her intense dramatic interpretation…"

- Peter Jacobi, The Herald Times, 2004

"Many smaller roles were more strongly cast, especially the three ladies (Jennifer Lyn Rowley, Sandra Ross, Laura Vlasak Nolen)…"

- Donald Rosenburg, Plain Dealer, April 13, 2003

"The performance featured guest artist Jennifer Rowley…a beautiful, young American soprano with great operatic potential."

- El Cronista, July 2002