“A heartfelt “How Could I Ever Know”, a duet with baritone Raymond Diaz, from The Secret Garden, showed an understanding of its character any full production should aspire to. The same can be said for “Ain’t It a Pretty Night,” a young woman’s giddy paean to the future she sees beyond her rural valley home, from the American contemporary Susannah….
Read More“The music of Puccini, though, with its heart-forward affect and relatable drama, was where Rowley felt most at home. In three early Puccini songs on the program — which were later developed by the composer into operatic grist in La Rondine, Manon Lescaut, and La bohème — she offered a big, clear singing presence and convincing emotion. Her “Un bel dì, vedremo” from Madama Butterfly (sung…
Read More“Rowley was powerful as Cio-Cio-San, receiving enthusiastic applause for her performance of “Un bel di vedremo.” She portrayed an intentional Butterfly and avoided conveying an ingénue. She sang with feeling and conviction, sailing through her high notes and blossoming in the second act.” Palm Beach Daily News “Rowley has sung Tosca, Aida and other classic roles. But until Friday night,…
Read More“Rowley is very fine, revealing a big, rich, dramatic voice, more naturally suited, perhaps, to the Trovatore Leonora than to Violetta, though the long lines of ‘Dite alla giovine’ are beautifully sustained. Adriana Lecouvreur’s ‘Io son l’umile ancella’ is graciously done, and she really throws herself into Chimène’s ‘Pleurez, pleurez mes yeux’ from Massenet’s Le Cid with great intensity.” Gramophone…
Read More” Jennifer Rowley als Valentine, ein jugendlich dramatischer Sopran, ihr Vortrag mit viel Einfühlungsvermögen und Pathos.” Klassik Begeistert
Read More“ … the quartet was an imposing mass of high-vibrato sound, framed at the top by Rowley’s formidable soprano … Heard from the balcony, the soloists somehow created an acoustic that, in softer entrances, seemed to well up from an alternate world — a reminder that such alternative worlds are there for the finding.” The Philadelphia Inquirer “Nézet-Séguin went for…
Read More“Soprano Jennifer Rowley, as Hanna Glawari, descended a massive staircase on the beautiful set, originally designed for the Utah Symphony and Opera, with a strong and even voice. She later received enthusiastic applause after her performance of “Vilja,” which should be placed among the greatest performances of this aria. Rowley floated effortlessly on the high notes, giving the audience divine…
Read More“I found her dynamic performance coupled with her incredible voice, to far exceed my expectations. She acted with not only her exquisite voice but her whole being. As Rowley sang through the well-known “Io son l’umille ancella” from Francesco Cilea’s verismo opera Adriana Lecouvreur, her connection to the stream of emotions was constant and mesmerizing. In this ultraromantic piece, Rowley…
Read More“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…
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…
Read More“From start to finish her Leonora was a potent and confident woman, singing passionately in her opening aria to mirror the intense love she felt for Manrico. Verdi’s vocal line ascends throughout “Tacea la notte” to mirror Leonora’s sense of hope and aspiration, and Rowley was right on point with this sense of elation. She retained a tempo that helped…
Read More“Up and coming American soprano Jennifer Rowley has boldly claimed for herself a new, career-changing role. Puccini’s Tosca is a monumental climb for a soprano, a career-defining mountain if, perhaps, not the toughest vocal peak. The opera greats, including Callas, have used the role to cement a career. Rowley, taking on the role at the Metropolitan Opera House for a…
Read MoreMathew Brown, conductor… put together an exquisite performance of John Rutter’s “Requiem,” which included Jennifer Rowley, guest soloist, who was outstanding. Ms. Rowley is a star soloist with the Metropolitan Opera; will debut at the Dallas Opera; and has appeared all over Europe. What an opportunity to hear her in Salisbury!
Read MoreThe first question always is “Well, how was the Tosca?” and ours was remarkable. Jennifer Rowley slated to sing the role again at the Met in January, was very clearly the star of the night. As Floria Tosca, Ms. Rowley gets many things so right: her profound and comprehensive interpretation gives Tosca an organic, complex richness. Ms. Rowley’s skill for…
Read More…the two leads poured so much heart and intelligence into their performances that I left grateful for the experience. For Ms. Rowley, this was a breakthrough. Originally an understudy for Patricia Racette, she took over when Ms. Racette pulled out in March, and on Tuesday, she sang with an even, radiant tone and effortless, chiffony top notes…at the heartbreaking ending,…
Read MoreThe all-star cast, only seven singing roles, interacts with ferocious tension that can be cut with a knife. Vanessa is sung by Ohio native Jennifer Rowley, who on Monday heads off to the New York Met. She stopped off this week to sing her inaugural Vanessa in Toledo. She exquisitely crafts Barber’s excruciatingly difficult vocal lines into emotional vehicles which…
Read MoreThe first prize honors of the evening rightly went to the leading lady, Jennifer Rowley, making her company debut. Possessed of a bright gleaming soprano sound, she had no difficulties with Puccini’s often treacherous vocal writing. The soprano, a gifted and sympathetic actress, allowed one to care for the character, even when in the throes of misguided jealousy in Act…
Read MoreDer kommt Jennifer Rowley als Leonora noch näher. ihr ausdrucksstarker sopran ist mit dunklem timbre, tollen Farben und einer wahnsinnigen Geläuftigkeit ausgestattet. Dazu pflegt sie eine wunderbare Pianokultur, verfügt über endlosen Atem und präsentiert so das berührendste und überzeugendste “d’amor sull’all rosee,” ich in den vergangenen Jahren habe hören dürfen.” (Then comes Jennifer Rowley as Leonora. Her expressive soprano is…
Read MoreVerdi offre aux femmes ses chants les plus désespérés et les plus émouvants : Jennifer Rowley triomphe sans filet des airs sublimes – et si contrastés – de Leonora…” (Verdi offers to the ladies his most desperate and moving moments: Jennifer Rowley triumphs the sublime and contrasted arias of Leonora…) – Emmanuelle Giuliani, La Croix, January 19, 2016 “La voix longue…
Read MoreThe other bohemians – are strong singers, characterized conventionally. No surprises there, but the best comes from Jennifer Rowley who plays Musetta as an over-the-top, bottom-wiggling, good time girl who ends her show stopper by snapping a billiard cue across her thigh. Strong girl, but she melts affectingly in the final act, which Copley stages as tenderly and unfussily as…
Read More“Die amerikanische Sopranistin Jennifer Rowley, die 2014 die Musetta an der Met sang, gab nun ihr Semperoper-Debüt als Tosca. Sie wirkte überzeugend als zarte, empfindsame Sängerin mit weicher Stimme, die aufgrund der Ereignisse in höchste Emphase gerät und dann mit entsprechender Lautstärke und tonärmerer Stimme ihrer Verzweiflung Ausdruck verleiht. Ihre große Arie, in der sie Scarpia um Gnade anfleht, sang…
Read MoreAmerican soprano Jennifer Rowley, making her Australian debut, is outstanding as Leonora. She has a beautifully lyrical voice, creamy and silken across the entire range with a rich coloratura and strong low register.” – Mark Coughlan, The Australian, November 3, 2014 “American soprano Jennifer Rowley sang Leonora’s impossibly long phrases with unhurried beauty, revealing a glorious top end as she…
Read MoreThe rich-voiced soprano Jennifer Rowley made a splash in her house debut as Musetta, maneuvering flirtatiously through the crowds and singing with a vibrant, agile voice in “Quando me’n vo.”” – Vivien Schweitzer, The New York Times, March 24, 2014 “Also new this season is another soprano, Jennifer Rowley, who has previously made strong impressions in offbeat repertoire locally with…
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