Critical Acclaim

“Leopold’s Regina cœli, full of expressive Italianate gestures reminiscent of Monteverdi’s later music, featured mezzo-soprano Jennifer Lane. Her dark, focused voice brought special poignancy to the nuances of the text, accompanied by instrumental lines decorated by chromaticism and lemon-juice-in-the-eye cross relations.”

Regina cœli

Daniel Hathaway,
Clevelandclassical.com, July 2, 2013

“… mezzo-soprano Jennifer Lane delivered marvelously refined ornaments…”

Tempesta di Mare’s Messiah

David Stearns,
Philadelphia Enquirer, March 19, 2013

“… five fine vocal soloists… especially delightful were Samuelson and Lane in the duet Et in unum Dominum.” [Santa Rosa Symphony’s B Minor Mass} Niels Swinkels San Francisco Classical Voice, December 15, 2012 .”

Santa Rosa Symphony’s B Minor Mass

Niels Swinkels,
San Francisco Classical Voice, December 15, 2012

“A female 'male alto'
The program's second vocal item introduced a major addition to Tempesta's musical resources. The soloist, Jennifer Lane, is an alto with a voice that can best be described as a "female male alto". As we all know, the alto parts in Baroque works were sung by castrati. Nowadays, they're usually sung by mezzo-sopranos. The small number of men who possess natural male altos always steal the show when they show up on a Baroque program. Their voices combine the color of the female alto with the extra power and resonance created by the male chest. Lane possesses the extra range and the distinctive timbre of the male alto. She isn't quite as powerful, but that's an irrelevant consideration in a chamber concert presented in a small space. Her text was a passage from St. Augustine — "O Thou Who Givest All Good Gifts" — set by a composer, Johann Rosenmuller, who was born in 1619, the year after the Thirty Years War began. Lane's voice colored it with one of the rarest and most distinctive sounds of Baroque music .”

"O Thou Who Givest All Good Gifts"

Tom Purdom,
The Broad Street Review, December 11, 2012

“The one possibly great composer was Johann Rosenmüller, represented by the vocal work "O Dives omnium bonarum dapum" that shows him looking back to the more vocally rhapsodic manner of Schutz. Few singers project such an ideal union of clean vocal line and discreet vibrato as contralto Jennifer Lane. Music of this era repays subsequent visits on YouTube if only because it goes down so easily that you can miss the subtleties. But don't expect ever to hear Rosenmüller sung so well”

"O Dives omnium bonarum dapum"

David Patrick Stearns,
Philadelphia Inquirer, December 11, 2012

“Jennifer Lane wrapped her penetrating mezzo-soprano around every utterance, especially in the aria “Erbarme dich” in collaboration with Julian Ross’ affecting violin solo.”

St. Matthew Passion

Donald Rosenberg,
The Cleveland Plain Dealer, April 15, 2012

“Lane [as Irene] was a wonderful foil to Ava Pine in a vocal sense; her tone is velvet-smooth, with a rich darkness that carries a subtle gravitas in the music.”

Handel’s Theodora

John Norine, Jr.,
TheaterJones, February 24, 2012

“Also on the list of high points were Lane’s moving “Defend her, Heav’n” and Pine’s and Angel’s beautifully sung duet “Thither let our hearts aspire.”

Theodora

Olin Chism,
Art & Seek, February 24, 2012

“Distinguished contributions from… Jennifer Lane,… ”

St. Matthew Passion

John von Rhein,
Chicago Tribune, April 21, 2011

“The musical forces could hardly have been bettered…there was an excellent quartet of soloists… Jennifer Lane rounded out the group solidly, the interplay with Deborah Nemtanu’s violin quite effective in Erbarme Dich”

St. Matthew Passion, Soli Deo Gloria

Mark Thomas Ketterson,
ConcertoNet.com, April 20, 2011

“Jennifer Lane, in her Chautauqua debut… Ms. Lane handled her deeply-felt solo in the fourth movement expertly.”

Mahler's Symphony No. 3, Chautauqua

Robert Finn,
The Chautauquan Daily, August 2, 2010

“Jennifer Lane wrapped her voice poignantly around the mezzo-soprano phrases of the oratorio’s most anguished aria, “Es ist vollbracht,” with Schiffer as eloquent gamba soloist.””

"Es ist vollbracht"

Donald Rosenberg,
The Cleveland Plain Dealer, April, 18, 2010

“Jennifer Lane, the mezzo-soprano, performed these sections with a dramatic intensity that honored the texts... The Salve Regina, in F minor, is darkly melancholy, with a lyrical undercurrent that Ms. Lane projected beautifully.”

Pergolesi Tricentennial, Sinfonia New York

Allan Kozinn,
New York Times, March 30, 2010

“Where some historically informed performances have a soprano and male alto, Clarke's had a soprano and mezzo-soprano. The singers made his choice convincing . . . Mezzo-soprano Jennifer Lane's dusky timbre persuasively shaded her darker solos, underlining their anticipation of late Mozart. Duets had ardor, warmth of rapport and a blending of timbres that sustained long phrases with discreet expression.”
Go to review

The Stabat Mater, with the Baroque Band, Chicago, Gary Clarke conducting

Alan G. Artner,
Chicago Tribune,
January 11, 2010 

“Both of the vocalists' voices were full of ardor and finesse. Lane's darkly hued and resounding mezzo evocatively anchored Kampani’s airy and nimble soprano. The two women, garbed in wonderfully ornate wardrobes, appeared to have a genuine rapport with each other. The highlight was the No. 5 Duet, where the mother of Christ is grieving for her mutilated son. The soloists sung the 14th-century Latin text with such pleading drama and clean articulation, you could almost conjure her pained visage through the lachrymose expression.”
Go to review

The Stabat Mater, with the Baroque Band, Chicago, Gary Clarke conducting

Bryant Manning,
January 9, 2010

“Purcell conjured up beautiful heartache music for Dido, and Clarke pulled a rabbit out of his hat convincing mezzo-soprano Jennifer Lane to perform. Lane's voice has an exceptional strong dark quality, and she sings with clear tone and sophisticated phrasing. "When I am laid in earth," Dido's lament at losing her love, is one of Purcell's great creations, and Lane found all the tears in it, convincing us that one can surely die of a broken heart. Lane was equally adept with the music of the Sorceress, filling the church with wicked, frightening incantations...............The big finish was supplied by Giovanni B. Ferrandini, whose "Il pianto di Maria" had until recently been attributed to Handel. Lane, Clarke and the band gave this splendid music full glory. Lane was bold when the music called for it but knew when to throttle things down. Her deep lower register had a burning intensity. The instrumentalists rose to the occasion and drew out the unusual dissonances we associate with more modern music. Applause was augmented with foot stomping, and I stopped counting the number of times Clarke and Lane returned to the stage to acknowledge the well-deserved appreciation of the audience.”

Dido and Aeneas, with the Baroque Band, Chicago, Gary Clarke conducting

M.I. Rantala,
Hyde Park Herald,
July 1, 2009

“(Chicago’s) Baroque Band did the honors…..Jennifer Lane was in  the solo spotlight—actually on the small raised platform—for excerpts from Purcell’s Dido. For a singer with a background primarily in  early music, Lane possesses an imposing mezzo instrument….rising to the expressive height of When I am Laid in Earth with refined eloquence. Lanes’s voice  and temprament suited to the boldly Italianate passions of Ferrandini’s setting, the mezzo singing with big dusky tone and dramatic intensity...”
Go to review

Dido and Aeneas, with the Baroque Band, Chicago, Gary Clarke conducting

Lawrence A. Johnson,                   
Chicago Classical Rview.org,
June 4, 2009

“Egarr had a superb, agile group of vocal soloists to work with . . . mezzo-soprano Jennifer Lane, . . . and he gave everyone the freedom in tempo to indulge in elaborate ornamentation.”
Go to review

THEODORA (Handel) with San Diego Bach Collegium, Richard Egarr conducting

Richard S. Ginell,
Los Angeles Times, June 29, 2009

“"Mezzo-soprano Jennifer Lane conveyed the sympathetic nature of Theodora’s friend, Irene, and fearlessly tackled tricky coloratura flourishes." Go to review

THEODORA (Handel) with San Diego Bach Collegium, Richard Egarr conducting

Valerie Scher,
San Diego News Network, 6/28/2009

“The rest of the soloists perform these (arias) with much Baroque skill and musical beauty.......Jennifer Lane, veteran mezzo, performs Irene, Theodora's confidant, in a mature voice of much skill, and great feeling.”

THEODORA (Handel) with San Diego Bach Collegium, Richard Egarr conducting

George Weinberg-Harter,
June 28, 2009, SanDiegoArts.com

“Il mezzosoprano americano Jennifer Lane, cantante molto esperta, ha inerpretato il ruolo di Irene con un gradevole timbro brunito e sicurezza encomiabile.” Go to review

THEODORA (Handel) with San Diego Bach Collegium, Richard Egarr conducting

“La mezzosoprano americana, Jennifer Lane, reconocida intérprete de este repertorio cantó el rol de Irene con encomiable seguridad y agradable voz oscura.” Go to review

THEODORA (Handel) with San Diego Bach Collegium, Richard Egarr conducting

Ramon Jacques,
Operaclick.com
6/27/2009

(Both the Italian and the Spanish review are by the same writer and translate to: "The American mezzo-soprano Jennifer Lane, a singer of great expertise, interpreted the role of Irene with a lovely burnished tone and commendable certainty.")

“(Chicago’s) Baroque Band did the honors…Jennifer Lane was in the solo spotlight—actually on the small raised platform—for excerpts from Purcell’s Dido. For a singer with a background primarily in early music, Lane possesses an imposing mezzo instrument….rising to the expressive height of When I am Laid in Earth with refined eloquence. Lanes’s voice  and temprament suited to the boldly Italianate passions of Ferrandini’s setting, the mezzo singing with big dusky tone and dramatic intensity.”

BAROQUE BAND in Chicago

Lawrence A. Johnson,                   
Chicago Classical Rview.org, June 4, 2009

“Purcell conjured up beautiful heartache music for Dido, and Clarke pulled a rabbit out of his hat convincing mezzo-soprano Jennifer Lane to perform. Lane's voice has an exceptional strong dark quality, and she sings with clear tone and sophisticated phrasing. "When I am laid in earth," Dido's lament at losing her love, is one of Purcell's great creations, and Lane found all the tears in it, convincing us that one can surely die of a broken heart. Lane was equally adept with the music of the Sorceress, filling the church with wicked, frightening incantations...............The big finish was supplied by Giovanni B. Ferrandini, whose "Il pianto di Maria" had until recently been attributed to Handel. Lane, Clarke and the band gave this splendid music full glory. Lane was bold when the music called for it but knew when to throttle things down. Her deep lower register had a burning intensity. The instrumentalists rose to the occasion and drew out the unusual dissonances we associate with more modern music. Applause was augmented with foot stomping, and I stopped counting the number of times Clarke and Lane returned to the stage to acknowledge the well-deserved appreciation of the audience.”

BAROQUE BAND in Chicago

M.I. Rantala,
Hyde Park Herald, July 1, 2009

“The other mezzo written into this opera was Marcellina, ably sung by Jennifer Lane. I've seldom heard a Marcellina as good as Lane; her voice is pleasing on the ear and very supple, with a distinct timbre.” Go to review

LE NOZZE DI FIGARO (Marcellina) with Palm Beach Opera

Rex Hearn,
Palm Beach Artspaper, March 2, 2009

“Mezzo-soprano Jennifer Lane as the ever determined, get-her-man Marcellina, was a comic tour de force. Her booming mezzo seemed somehow especially comic.” Go to review

LE NOZZE DI FIGARO (Marcellina) with Palm Beach Opera

R. Spencer Butler,
Palm Beach Daily News, February 28, 2009

“Jennifer Lane was deliciously over the top as the Witch of Endor .”

Handel’s Saul

Scott Cantrell,
The Dallas Morning News, February 6, 2009

"Carles Magraner reunited a cast of singers with proven Baroque experience, offering a version of great quality....In the roles of Messaggiera and Speranza, he has brought to the charge, Jennifer Lane, who sang with power, passion and sensitivity of interpretation. The production included her dramatic entrances and exits, announcing the death of Euridice, and  descending a high staircase to quide Orfeo through the gates of Hades.”

Orfeo, Castellón, Spain

Nihil Sub Sole Novum,
December 4, 2008

“(Jennifer Lane  presented) a unique melody of spoken word, fiery melody and sensuous drama”

El Mundo’s ¡Zarzuela y Opera!

Andrew Druckenbrod,
Pittsburgh Post-Gazette, November 8, 2007

“He (Rod Gilfrey) was ably matched by mezzo-soprano Jennifer Lane, whose performance as Charmian combined voluptuousness, vulnerability and rage in a potent blend.”

Larsen’s Everyman Jack

Joshua Kosman,
San Francisco Chronicle, November 13, 2006

“…while Gilfrey unravels beneath London’s demons and despair, mezzo-soprano Jennifer Lane smolders as the sensual and selfish Charmian, especially in the aria, “What about me, Jack?”

Everyman Jack

Diane Peterson,
Rosa Press Democrat, November 16, 2006

“While the dancing was delightful, the singing was superb. Mezzo-soprano Jennifer Lane as Apollo performed coloratura arias with awesome technique and gorgeous tone. Costumed in satin breeches and a plumed headdress that made her look about 10 feet tall, she created a glowing god of music who dominated the stage.”

Handel’s Terpsichore

Wilma Salisbury,
The Cleveland Plain Dealer, July 3, 2006

“Mezzo-soprano Jennifer Lane's plush, dark-hued voice usually cut through and it was beautiful singing.”

Mahler’s Das Lied von der Erde

Elissa Poole,
The Vancouver Globe and Mail, May 20, 2006

“Jennifer Lane…is a mezzo-soprano, but her rich, roundly mature voice covered every inch of the range in the most operatic role that Brahms ever wrote. She  surrounded every tone with a meaning that reached to its very depths.”

Brahms’ Alto Rhapsody

Loren Tice,
The Lexington Herald,  March 25, 2006

“Marvelous leading vocal department…sumptuousness of vocal timbre…playfully interacting in a nearly stage-worthy operatic fashion…Ms. Lane, by the way, also plays the castanets…”

Villancicos y Cantadas, El Mundo    

David Gregson,
San Diego.com, December 10, 2005

“And while  his  (Hercules’) is the central character, it is Dejanira — played by renowned mezzo-soprano Jennifer Lane — who shapes the dramatic course of the story. Lane’s towering, supple voice easily expresses the burning jealousy of her character while, at the same time, bathing the ear in pure wondrous sound.”

Handel’s Hercules at the  Blackfriars Playhouse, Staunton, VA

Charles Culbertson,
The Staunton News Leader, August 31, 2005

The Book of the Hanging Gardens; Schoenberg CD
“Superb singing also dominates the new Schoenberg CD, which features the mezzo-soprano Jennifer Lane in performances of "The Book of the Hanging Gardens," with Mr. Oldfather as pianist, and of Schoenberg's luminous chamber orchestra arrangement of the "Song of the Wood Dove" from "Gurrelieder." …. Ms. Lane and Mr. Oldfather enliven the cycle, articulating the suppressed eroticism and anxiety of an affair that seems to go nowhere…..Although you can also hear Ms. Lane's dramatic portrayal of the Wood Dove in Mr. Craft's complete recording of "Gurrelieder," you may very well prefer to hear the work's essence in this finely shaped aria.”

David Schiff,
The New York Times, March 14, 2005

“with an impressively solid cast and men's chorus, Lazarev drew a gnawing theatricality from this concert performance.”

Œdipus Rex, Royal Scottish National Orchestra

Kenneth Walton,
The Scotsman, March 7, 2005

"Jennifer Lane's dark, lush mezzo and concern for every subtlety in the text enriched her portrayal of Phedre."

Hippolyte et Aricie, LAFAYETTE OPERA

Baltimore Sun

"...assembled a cast of singers deeply schooled in the French baroque... and mezzo-soprano Jennifer Lane (Phedre) have distinguished themselves in numerous recordings. Indeed, a flowing, unforced elegance was the essential quality of the performance. Nobody strained or shouted; ...while Lane brought the grand, aching manner of a classic French tragédienne to the role of Phedre."

Washington Post

"...Lane stole the show. Lane sang five numbers that expressed not only a wide range of feelings but, in a tasteful way, her versatility. Her voice is warm, velvety and resonant. I was especially struck by her lower register in 'O mirandum mysterium' by Legrenzi and her complete involvement in Marin's 'Aquella Sierra Nevada' and 'Oygan una Xacarilla' by Castellanos."

The Kingdoms of Castille; Concert El Mundo

The Dispatch

"Jennifer Lane was the intrepid mezzo-soprano. She didn't flinch from the challenges, instead applying seductive inflections, luminous tonal resources and vocal agility to each moment."

The Plain Dealer

Jennifer Lane, Mezzo Soprano