“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 her ability to emit beautiful spun lines which are marvelous in her entrance aria “Tacea la notte placida” and the cabaletta that follows, where she seems perfectly at ease.”
-Christian Peter, Forum Opéra (June 21, 2018)
“Jennifer Rowley makes [this performance] memorable. The ample sound of the voice very skilfully projected makes it very audible in even its nuanced pianissimo (even while seated sideways, her hand in front of the face or even with an almost closed mouth), and all the more eloquent with its accuracy and its marvelousness of line. Her expressiveness is also based in her breathing into the lines (she articulates her sentences as if they are her words).”
-Charles Arden, Ôlyrix (June 29, 2018)
“The entrance of Jennifer Rowley, an artist accustomed to face the great hall of The Metropolitan Opera, and who makes her debut at the Paris Opera in the role of Leonora, discovers a soprano with sensitive vocals, reserved during her confidential exchanges with the imperative Ines of Elodie Hache, radiant and intensely projected singing when her heart is freely exposed, and a barely shaded clarity that characterizes a young, passionate, still untamed personality…Jennifer Rowley brilliantly manages to dramatize with a beautiful slender technique ‘D’amor sull’ali rose’…
-Formalhaut (June 30, 2018)