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In the 2019/20 season, Jennifer Rowley adds two Verdi roles to her growing list of repertoire and she makes two highly anticipated house debuts: first at the National Theatre Prague as Amelia from Verdi’s Un ballo in maschera, and then at the Gran Teatre del Liceu in Barcelona in the title role of Verdi’s Aida. She returns to the Metropolitan Opera to reprise two of her signature Puccini roles: the title role of Tosca, and Musetta in La Bohème. She also sings Tosca for Opera San Antonio, making her house debut, and ends the season making her greatly anticipated house and role debut at Opera Australia as Elizabeth I from Donizetti’s Roberto Devereux.
Read MoreSEP | 20, 2019
SUNY Potsdam
Potsdam, NY
SEP | 27, 2019
Fort Worth Opera
Fort Worth, TX
SEP | 28, 2019
with Joe Illick, piano
Fort Worth Opera
Fort Worth, TX
Oct | 12, 2019
Salisbury Symphony
Salisbury, NC
OCT | 24, 2019
Bowling Green State University
Bowling Green, OH
OCT | 25, 2019
Toledo Opera
Toledo, OH
Oct | 31
Nov | 2, 2019
Amelia
National Theatre Prague
Prague, Czech Republic
NOV | 15, 2019
with Ramón Tebar, piano
Opera Naples
Naples, FL
NOV | 16, 2019
Baldwin Wallace Conservatory of Music
Berea, OH
Jan | 14, 17, 20, 23, 28, 31
Feb | 2, 2020
Aida
Gran Teatre del Liceu
Barcelona, Spain
FEB | 5, 2020
University of Miami
Miami, FL
FEB | 21, 2020
Baldwin Wallace Conservatory of Music
Berea, OH
FEB | 22, 2020
Baldwin Wallace Conservatory of Music
Berea, OH
APR | 15, 18, 2020
Tosca
The Metropolitan Opera
New York, NY
APR | 29
MAY | 2, 7, 2020
Musetta
The Metropolitan Opera
New York, NY
Jun | 30
Jul | 4, 8, 11, 13, 16, 2020
Elizabeth I, Queen Elizabeth
Opera Australia
Sydney, Australia
“The small cast of singers was highly experienced in their roles, and it showed. Soprano Jennifer Rowley needed the experience for the difficult title role. In Act One, Rowley portrayed Tosca as an immature, insecure woman full of petty jealousy. The character changes in Act Two to a woman of inner strength and decisive action. Rowley delivered the opera’s best-known…
Read More“American soprano Jennifer Rowley embodied a Tosca flooded by a huge spectrum of emotions, from the playfulness of diva attitudes in the first act to her murderess fury in the second act and finally the complexities of the third act. Mme. Rowley’s voice has a fast flutter that served to create an exaggerated singerly presence for Tosca. She has a…
Read More“Vocally Rowley was in fine form throughout the night, especially during her arias. “Io son l’umile ancella” was marked by a seemingly endless vocal line supporting by virtuosic breath support. Every single phrase in the aria’s opening sections felt like one connected line, growing and building toward the climactic final lines. The final phrases were potent in how long Rowley…
Read More“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…
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