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	---> b i o g r a p h y ---> r e s u m e ---> r e v i e w s ................................................................................. ---> write to Manager
Jane Jennings, soprano

b i o g r a p h y...........back to roster....up April 2009 Acclaimed for a “supple, lyric and agile voice,” that is “projecting nicely through the house and capable of deliciously soft pianissimos and yet triumphant” (Denver Post), American soprano Jane Jennings has garnered praise for operatic portrayals ranging from Mozart’s delicate leading ladies to the sympathetic heroines in operas by Puccini and Verdi. Joseph McLellan, the Washington Post critic, calls her “a versatile soprano with a voice notable for power, expressiveness and sheer tonal beauty.”  Most recently, Jennings portrayed Pamina in The Magic Flute with the Xalapa Symphony in Carlo Miguel Prieto’s farewell concert as music director and sang at the memorial concert of Patricia Corbet with the Cincinnati Symphony and Chorus. During the 2008/09 season, she sings the Vivaldi Gloria and Bach Magnificat with the Houston Symphony under Hans Graf, appears in a gala evening with Johnstown Symphony and returns for a Verdi Requiem with the North Carolina Symphony under Grant Llwellyn.  On the opera stage, Jennings has made debuts with important roles in recent seasons. Micaela in Carmen provided her introduction to the New York City Opera as well as her European opera debut at the Teatro Bellini in Catania, Italy. Pamina in Die Zauberflöte proved to be another quintessential role with which she made her San Antonio Opera debut, later joined the Dallas Opera conducted by Music Director Graeme Jenkins, and repeated it at Opera Grand Rapids, Opera Birmingham (AL), and Opera Delaware. Her Arizona Opera debut was as Gilda in Michael Cavanagh’s production of Rigoletto, later returning as Fiordiligi in Così fan tutte, followed by additional performances at El Paso Opera. The soprano gave her first performances as Donna Anna in the Opera Omaha production of Don Giovanni conducted by Hal France. She performed the Countess in Le nozze di Figaro at the Pittsburgh Opera and made her Dallas Opera debut as Woglinde in the Roberto Oswald production of Götterdämmerung, conducted by Jenkins.   Equally comfortable in the contemporary music idiom, Jane Jennings created the role of Ally Hawes in the world premiere of Stephen Paulus and Joan Vail Thorne’s opera Summer for the Berkshire Opera Company, led by artistic director Joel Revzen.  Continuing her exploration of contemporary opera, she gave her first performances of the Governess in Britten’s The Turn of the Screw at Opera Omaha. Regularly appearing on the concert stage, Jennings has performed with many major symphonies and conductors in the US. She has joined the Dallas Symphony and Claus Peter Flor for performances of the Mozart Requiem and Szymanowski’s Stabat, the Houston Symphony for Beethoven’s Mass in C Major (conducted by Andreas Delfs), the Indianapolis Symphony Orchestra for Mozart concert arias, and the Pittsburgh Symphony for the ‘Letter Scene’ from Eugene, to name a few. Festival appearances have included the Bach B minor Mass as part of  the Caramoor Festival’s 60th anniversary season, and Beethoven’s Symphony No. 9 with the Colorado Symphony under then-Music Director Marin Alsop to open the 2002 Bravo! Vail Valley Music Festival. She was also guest at the Berkshire Choral Festival and performed Mahler’s Symphony No. 2 with Leon Botstein and the American Symphony Orchestra at the Bard Music Festival.   As a recording artist, Miss Jennings can be heard on Telarc as Europa in Richard Strauss’s opera Die Liebe der Danae, recorded live at Lincoln Center’s Avery Fisher Hall with conductor Leon Botstein leading the American Symphony Orchestra.  A native of St. Charles, Missouri, Jane Jennings first came to attention through the apprentice program at Opera Theatre of St. Louis where she performed Lolette in La Rondine. As a Filene Young Artist, she made her debut at Wolf Trap Opera as Sifare in Mozart’s Mitridate, re di Ponto.  While a participant in the Pittsburgh Opera Center under the direction of Tito Capobianco, she first performed many of the roles in her repertoire, including Fiordiligi in Così fan tutte, Pamina in Die Zauberflöte, Micaela in Carmen, Adina in L’elisir d’amore, Giulietta in I capuleti e i montecchi, and Magda in La Rondine.  Her early assignments with the company were as the Angelic Voice in Don Carlo and as Frasquita in Carmen.  Jane Jennings graduated from the University of Missouri-St. Louis, and the University of Illinois at Urbana-Champaign with a Masters Degree in Music. b i o.....rr e s u m e.....rr e v i e w s back to roster...up . . . .

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