New York Times
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In the 2017/2018 season, following her performances of the same title role with Nashville Opera, Ms. Rowley returned to The Metropolitan Opera in their new production of Tosca where she presented a “magnificent” (ZealNYC) portrayal.
Read MoreJan | 23, 26, 2019
Title Role
The Metropolitan Opera
New York, NY
FEB | 15, 2019
Baldwin Wallace Conservatory of Music
Berea, OH
FEB | 23, 2019
Crystal Lounge, Shuford Performing Arts Center, Salisbury Symphony
Salisbury, NC
Mar | 18, 23, 26, 29
Apr | 2, 6, 2019
Tosca
The Metropolitan Opera
New York, NY
April | 11
with Fabio Luisi, conductor
Teatro del Maggio Musicale Fiorentino
Florence, Italy
MAY | 4, 2019
The Stonegate Mansion
Fort Worth, TX
MAY | 5, 2019
Fort Worth Opera
Fort Worth, TX
“A partire dalla Leonora di Jennifer Rowley, dalla voce dal timbro personale e dotata del peso ideale per il personaggio, che usa a fini espressivi persino la lieve disomogeneità tra i registri, tra un centro screziato da un accenno di vibrato stretto e un registro acuto sicuro, luminoso e intenso. Discreta anche nei passaggi belcantistici, il soprano statunitense (già attiva al…
Read More“In the title role, Jennifer Rowley was a force of nature from beginning to end. In her first appearance, Medea learns that she has been cast aside by Giasone for Creusa, daughter of the king of Corinto. Scorned and indignant, Rowley’s nascent conflict is captured by the ambivalence of the recitative accompagnato before she launches into a cavatina, where she…
Read More“Jennifer Rowley surprises by making an acclaimed debut on the Opéra Bastille stage, and as she explained in the interview she gave us, her Leonora is – at the beginning of the plot – a very young a passionate and voluptuous girl, a design that holds true thanks to the freshness of the singer’s youthful tone, her brilliant sound and…
Read More…Jennifer Rowley, who made a suitably volatile diva, all petty jealousies, tempestuous outbursts and coy pieties in Act 1, (the comedy of the sexes was played to good effect), and in a very different way, tempestuous and passionate in the second and third acts, as avenger, lover and victim. I particularly liked the orchestra’s relationship with her voice: the gusts…
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