|  Critical Acclaim

Teatro Nuovo - Medea in Corinto

Logan Martell, OperaWire

“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 invokes divine retribution to avenge her broken marital vows, leading to a sonorous climax with the line “If thou art a God, arise!”

After her failed attempt to reclaim Giasone by force, Medea turns to infernal powers to wreak her revenge in the aria “antica notte.” The sulfur and brimstone Rowley conjured in this number was fittingly complimented not only by the abyssal bowing of the double bass, but by an obbligato from members of the orchestra’s brass section, who had left the auditorium minutes before to play their part from outside, thus giving the sense of subterranean distance.”

-Logan Martell, Operawire (July 30, 2018)

“Soprano Jennifer Rowley was spectacular in the title role: With her big, buttery soprano, hooded with careful vibrato or blazing with anger, she found the dramatic compass of this explosive character.”

-Heidi Waleson, The Wall Street Journal (July 31, 2018)

“Jennifer Rowley, who succeeds Anna Netrebko as Adriana Lecouvreur at the Metropolitan Opera next year, brings full-bodied, resonant tone and unflinching determination to her portrayal…she sings with cultivated phrasing, expressive dynamic contrasts and stylish ornamentation.” 

-George Loomis, Financial Times (July 31, 2018)

“Jennifer Rowley, a young spitfire soprano on the ascent at the Metropolitan Opera, sang the role with vitriolic malevolence.”

-Charles T. Downey, The Classical Review (July 30, 2018)

“Jennifer Rowley as Medea in Mayr’s seldom performed Medea in Corinto was superb. Both composer and singer start out slowly, but as Medea’s pride and honor are assaulted by event after event, Rowley takes advantage of every opportunity the composer provides, detailing Medea’s descent from reason to madness in music and song. Rowley made her mark as Roxanne in Cyrano de Bergerac at The Metropolitan Opera in 2017. She is all color and guts, not simply a handsome singer, but one whose voice reflects the subject of her recitatives, cavatinas and cabalettas. Medea’s love has been betrayed and she will go to imagined and unimaginable lengths to exact revenge. As Medea, Rowley sings an unconquerable woman who can display tenderness amidst the dark and anguished actions of the people for whom she cares in the world. The cast throughout was excellent.”

-Susan Hall, Berkshire Fine Arts (August 7, 2018)

“Of course I was there to hear the lovely Jennifer Rowley as Medea. All of the reasons we love Ms Rowley’s singing were there in abundance–beautiful, rich sound, dazzling and sensitive artistry, and absolute commitment to her character. I could not take my eyes off of her whenever she was on stage. Her solo scenes she left me breathless–especially the Act II monologue when she considers killing the children she shares with Giasone (Jason) as an act of vengeance. Every conflicting and terrifying and agonizing emotion was clear.”

-Taminophile (July 30, 2018)

“In the Mayr work, Jennifer Rowley’s richly resonant soprano contributed mightily to a full throttle performance as Medea, the jilted sorceress who kills her own children out of vengeance.”

-George Loomis, Musical America Worldwide

“She lavished a velvety and luscious full lyric soprano voice on Medea’s low-lying expressive declamation…Rowley rose to powerful authority in Medea’s Act II invocation to vengeful demons “Antica Notte.”

-Steven Pisano, Gay City News (September 27, 2018)

“Teatro Nuovo had in its title role the soprano Jennifer Rowley, who rose to prominence after jumping into Alfano’s Cyrano de Bergerac at the The Metropolitan Opera two seasons ago. Rowley is glamour personified and magnified … Her soprano blossomed in the long lines and thrilling leaps of Medea’s opening aria ‘Sommi Dei,’ softening to delicate pianissimi in Medea’s tender moments with Giasone and her children…”

-Opera News

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