Opera News



New York Classical Review's Top Ten Performances of 2015

"... this concert was special. Playing the revised version by conductor Michel Galante of the Das Lied chamber reduction, Argento and singers James Benjamin Rodgers and Jennifer Beattie delivered the music with a relish, excitement, and sense of discovery that is rare in classical concerts."

-New York Classical Review, on Jennifer Beattie's performance of Mahler's Das Lied von der Erde with the Argento Chamber Ensemble at the Park Avenue Armory, NYC

". . . what made everything work was the playing and singing, which was superb in every way. Tenor James Benjamin Rodgers and mezzo-soprano Jennifer Beattie proved ideal, handling the arduous technical demands of the music while sounding like the everyday men and women Mahler envisioned. 

"Beattie has a rich, throaty voice . . . Beattie’s entrance on “Der Einsame im Herbst,” one of Mahler’s most artful moments, was quiet, focussed and exceptionally warm, and in “Der Abschied,” her modulation from sonic and emotional desolation to lustrous consolation was beautiful. Most exceptional was that throughout the whole piece, Rodgers and Beattie sang with an implicit understanding of the poetry, expressing not only Mahler but the earthiness and humanity that Mahler found compelling in “Die chinesische Flöte.” Their singing had a natural communication that is special and rare in classical performances—they spoke to us as if we were old friends."

-George Grella, New York Classical Review, reviewing Mahler's Das Lied von der Erde performed by Jennifer Beattie, James Rogers and the Argento Chamber Ensemble conducted by Michel Galante

"The performances — with the percussionist Matt Ward conducting the Schneller, Mr. Galante the rest — were excellent. Zach Finkelstein negotiated Mr. Jones’s high tenor flights with aplomb. James Benjamin Rodgers’s rough and ready approach to Mahler’s tenor songs suited their boozy nature and jostled nicely with Jennifer Beattie’s warmth in the alto numbers."

-James R. Oestreich, The New York Times, reviewing Mahler's Das Lied von der Erde performed by Jennifer Beattie, James Rogers and the Argento Chamber Ensemble conducted Michel Galante

"...exuberant voice and personality"

-Opera News

"Dupre's Four Motets, though, is a significant discovery, each of its parts a world unto itself, including a haunting aria for alto sung meltingly by Jennifer Beattie."

-David Patrick Stearns, Philadelphia Inquirer Music Critic, on the performance of Dupré’s four motets with organist Michael Stairs and the Mendelssohn Club Chorus at Verizon Hall in Phildelphia

"Taken as a whole, the evening was excellently organized.  Both Beattie and Marks were clearly up to the technical challenges they had set for themselves.  Because of the complexity of some of the Dickinson texts, it was valuable to have them printed in the program book;  but Beattie delivered them with great clarity of diction . . .  a smashing success in both conception and execution."

-Stephen Smoliar, San Francisco Examiner, reviewing When They Come Back, a program created in collaboration with pianist Adam Marks centered on Aaron Copland's Twelve Poems of Emily Dickinson.

Ma è assolutamente impossibile non emozionarsi, commuoversi, gioire, lasciarsi cullare, liberare la mente e i pensieri verso le cose belle della vita all'ascolto di "Silent Smile (Urban Love Song)". Dieci minuti di una bellezza cosmica con la Outright! Jazz Orchestra al gran completo, la voce di Jennifer Beattie che sa di volta celeste, una ballad che cresce d'intensità poco alla volta fino a trasformarsi in inno sull'amore universale.


-Vincenzo Roggero, Jazz All'Italia, reviewing Jon Irabagon's Outright Unhinged, featuring Jennifer Beattie on vocals

Handel's Messiah at the Kennedy Center, Washington, DC

Handel's Messiah at the Kennedy Center, Washington, DC

"Mr. Marks' interpretation of that intensity was reflected in everything Ms. Beattie did: posture and body language, facial expression, and diction. This made the meaning of the harmonies much clearer, especially in her posture and physical response to certain chords. As a result, the audience could feel the emotion of the poetry without closely following the translations." on "The Measure of Our Years," a collaboration with pianist Adam Marks

"Ms. Beattie was particularly moving in "Wohl schön bewandt" as the woman whose lover recently finds her invisible." on Brahms's Liebeslieder Waltzes, performed with the Brooklyn Art Song Society

"The pièce de résistance, though, came when [mezzo] soprano Jennifer Beattie suddenly appeared on the river itself, standing on a motorized pontoon boat, looking like a priestess in a full-length red gown, and singing - through a megaphone - one of Yong's graceful melodies."

-David Patrick Stearns, Philadelphia Inquirer Music Critic, reviewing "Turbine" by composer Byron au Yong in collaboration with the Mendelssohn Club choir and choreographer Leah Stein

"The performance was just fine with occasionally uncertain tempos and a good but slightly unruly vocal quartet - Barbara Berry, Roy Hage, Jennifer Beattie, and Brandon Cedel."

-David Patrick Stearns, Philadelphia Inquirer Music Critic, reviewing Haydn's "Missa in Tempore Belli," performed by the Chamber Orchestra of Philadelphia and the Mendelssohn Club choir