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The Classical Style

Ojai Music Festival and Ojai North, Ojai and Berkeley, CA  (June 2014)

"...an excellent eight-member cast assuming 18 roles." Los Angeles Times

"The cast is uniformly strong, with a special note to ... Jennifer Zetlan as a perky Mozart." SFist

"enlightened whimsy" Financial Times

NYPhil Biennial; Beyond Recall

MoMa (May 2014)

"It is sometimes said of great actors, "I'd listen to him read the phone book."  Well, let the record show that I listened to Jennifer Zetlan sing the numbers of the Fibonacci series — in German — and it was pretty dazzling." Read more in Opera News

"Mr. Hughes was an impressive presence in several works, as was the soprano Jennifer Zetlan, her voice precise without being too cool in the impassioned lyricism of Dai Fujikura’s 'silence seeking solace' and the sly, sinuous lines — a setting of the Fibonacci number sequence — in Olga Neuwirth’s 'Piazza dei Numeri.' Ms. Zetlan was game for the music’s daunting demands, which in Nina Senk’s 'In the Absence' alone ranged from skittish whispers to full wails." The New York Times

"[Jennifer Zetlan's] sound was consistently crisp and her phrasing was uncomplicated. She has a free, easy tone throughout her voice..." New York Classical Review

"The soprano Jennifer Zetlan could sing the Fibonacci sequence and make it sound expressive—and that’s exactly what she did in Olga Neuwirth’s Piazza dei Numeri..." New York Magazine

Stravinsky Japanese Lyrics and Balmont Songs

Chicago Symphony Orchestra (Feburary 2014)

"Mezzo soprano Sasha Cooke and soprano Jennifer Zetlan, both young Americans, seemed born to sing the Ravel and Stravinsky works, respectively. All three works require detail and confidence but also a certain disappearing into the texts, and both women demonstrated this as if it were second nature." Chicago Sun-Times

Rigoletto

Seattle Opera (January 2014)

"...a compelling Sunday performance opposite the Gilda of Jennifer Zetlan, whose agile coloratura and impassioned acting made a fine impression." The Seattle Times

Two Boys

Metropolitan Opera (October, November 2013)

"...Jake’s older sister, Rebecca, a tough-talking temptress sung here with brash coolness by the soprano Jennifer Zetlan." The New York Times

"...the bright-voiced Jennifer Zetlan as Rebecca, a teenage siren in peril..." Wall Street Journal

"uniformly well sung"  The Washington Post

"Jennifer Zetlan exuded faux-innocence as his would-be love..." Financial Times

"Jennifer Zetlan displayed a bright, girlish soprano." New York Classical Review

"The most persuasive of these were delivered by ... soprano Jennifer Zetlan, as Rebecca, an elusive rich girl." Opera News

Ring Cycle

Seattle Opera (August 2013)

"Zetlan warbled winningly as the Forest Bird." Opera News

"On the lighter side, the three Rhinemaidens (Jennifer Zetlan, Cecelia Hall, and Renée Tatum), beautiful singers trained to a fare-thee-well in their daring aerial maneuvers, also provided some of the richest comedy in the cycle..." Classical King FM

Preview of Two Boys with Nico Muhly

Le Poisson Rouge (May 2013)

"The influence of Philip Glass could be heard here and in two songs by Mr. Muhly, given richly expressive performances by the soprano Jennifer Zetlan, who will sing in 'Two Boys' at the Met." The New York Times

Also- you can watch the recorded performance here!

La bohème

Seattle Opera (Feburary-March 2013)

"...dazzlingly attractive and vocally accomplished..." The Seattle Times

Time Cycle

American Composers Orchestra- Zankel Hall (January 2013)

"The main event came at the end, with an entrancing performance, at once sensual and kinetic, of Lukas Foss’s 'Time Cycle,' an influential 1960 work for soprano and orchestra, featuring the excellent and adventurous soprano Jennifer Zetlan, with George Manahan conducting." The New York Times

Juilliard Vocal Arts Recital

Alice Tully Hall (November 2012)

"Ms. Zetlan’s finely structured, fresh and luminous voice would be enough to ensure her growing popularity on the concert stage. ...But on Thursday she presented herself above all as a singing actress who combines a lively curiosity and playful disposition with serious attention to text."  Read the whole review in The New York Times

The Magic Flute

Ash Lawn Opera Festival (July 2012)

"Zetlan clearly is a major talent, with a wealth of impressive experience, bringing not just a superb soprano to the role of the princess Pamina, but excellent acting skills as well." The Daily Progress

Mozart Great c minor Mass

New York Philharmonic (June 2012)

"The soprano Jennifer Zetlan was potent and incisive..." The New York Times

Dark Sisters

Gotham Chamber Opera/Opera Company of Philadelphia/Music Theater Group (November 2011 and June 2012)

"One of Jennifer Zetlan's great strengths is her physiognomy. Her button-like eyes could be read anywhere in the theater." Opera News

"The cast includes... the bright-voiced soprano Jennifer Zetlan..." The New York Times

"Here, facial expressions (especially Zetlan’s) were priceless..." New Jersey Star-Ledger

The Last Savage

Santa Fe Opera (July-August 2011)

“...especially this Sardula, the sweet-voiced and charming soprano Jennifer Zetlan.”  The New York Times

“…Jennifer Zetlan sang it with a charm that engaged our emotions.” Opera News

“Jennifer Zetlan makes a high point of the fine aria in which Sardula, Abdul’s former girlfriend, agonises over how to tell Abdul she loves Kodanda.” Financial Times

“Sean Panikkar and Jennifer Zetlan were both vocally assured and endearing as the young Indian couple, Kodanda and Sardula, with Zetlan delivering an affecting performance of her Act 3 aria.” The Classical Review

“Ms. Zetlan’s silvery lyric voice was a good match for one of the show’s most extended arias, and she managed to imbue it with more interest than its generic sentiments invited.”  Opera Today

“soprano Jennifer Zetlan is both scheming and affecting, providing some wonderful singing in an Act Three aria that parodies Donizetti-style bel canto;”  The Santa Fe New Mexican

New Year's Eve Gala

Indianapolis Symphony — Hilbert Circle Theater (New Year's Eve 2010)

"[Zetlan] was one stanza into Johann Strauss, Jr.'s "Voices of Spring" when the audience acknowledged her vocal and acting artistry. ...  Zetlan's chemistry gifted us with dimensional characters, placing their engaging personalities in context with the larger work."  Nuvo

Messiah

Musica Sacra — Carnegie Hall (December 2010)

"The soloists included the excellent soprano Jennifer Zetlan, who wielded her silvery voice to admirable effect. Her fluid ornamentation and shining top notes were particularly striking in sections like 'Rejoice greatly, O daughter of Zion.'"  The New York Times

Boris Godunov

Metropolitan Opera (October 2010)

"As his older sister Xenia, American soprano Jennifer Zetlan sang with a shimmering yet intensely focused soprano that was tremulous with feeling."  Opera News

"Jennifer Zetlan and Jonathan A. Makepeace were sweet and helpless as Boris's children."  Wall Street Journal

Opera News Sound Bites

October 2010 Issue

"Jennifer Zetlan, who sings Xenia in this month's premiere of the Met's new Boris Godunov, has already managed a career feat that eludes many singers decades her senior: she's cultivated a truly distinct artistic profile."   Read more of Adam Wasserman's article here.

Amelia (Daron Aric Hagen)

Seattle Opera World Premiere (May 2010)

"Young soprano Jennifer Zetlan contributed brilliantly as the irrepressible Flier." Financial Times London

"I especially liked ... Ms. Zetlan's insouciant Flier." Wall Street Journal

"Soprano Jennifer Zetlan sang with the solidity and shine of steel as the Flier. " Opera News

"Jennifer Zetlan is compelling as Amelia Earhart." The Seattle Times

"Also of special mention are Jennifer Zetlan as the Flier..." The Woodinville Weekly

L'étoile

New York City Opera (March 2010)

"Jennifer Zetlan sounded radiant as Laoula." The New York Times

"Jennifer Zetlan was charming as the princess." Opera Today

Dames at "C"; The Song Continues

The Marilyn Horne Foundation (January 2010)

"Jennifer Zetlan, sensitively accompanied by her husband, the pianist David Shimoni, offered an enchanting rendition of "La Barcheta" by Reynaldo Hahn, with a radiant, agile voice and excellent control." The New York Times

The Fall of the House of Usher

Nashville Opera Association (November 2009)

"...best of all, soprano Jennifer Zetlan, who was splendid in Madeline's anguished vocalises, communicating pain and fury without ever saying a word." Wall Street Journal

"...sinuously dispatched in a bright-timbred soprano by Jennifer Zetlan..." Opera News

"Soprano Jennifer Zetlan, as Madeline Usher, has an exceptionally expressive voice and her performance is unsettling and searing in its power." BroadwayWorld.com

"Gregory, Rideout and Zetlan have beautiful voices." The Tennessean

"Silk Road"

Juilliard presents an All-Tan Dun concert (October 2009)

"Jennifer Zetlan was an extraordinary partner, singing with technical assurance, gleaming tone and abundant charisma." The New York Times

U.S. Premiere of John Tavener's Requiem

Sacred Music in a Sacred Space (October 2009)

"Jennifer Zetlan, a soprano, sang with an almost unearthly brilliance..." The New York Times

A Midsummer Night's Dream

The Princeton Festival (June 2009)

"Jennifer Zetlan brought her agile coloratura soprano voice to the role of the determined Tytania." The New York Times

"Oberon's queen, Tytania, is sung by the spectacular coloratura Jennifer Zetlan, who is quite easy on the eyes, let it be noted." Princeton Packet

"...Jennifer Zetlan, whose beautiful soprano voice combined with superb acting ability to give us a captivating Tytania." Out in Jersey

"Daniel Bubeck (Oberon) and Jennifer Zetlan (Tytania) sing sweetly in the more lyrical portions of the fairy scenes." ConcertoNet

"As his wife Tytania, soprano Jennifer Zetlan sang with fire and fury in a character borrowed from The Taming of the Shrew, but with the coloratura requirements of a 19th century Verdi soprano." Town Topics

Falstaff

Juilliard Opera Center (April 2009)

"Jennifer Zetlan and Paul Appleby brought endless charm and radiant voices to the young lovers, Nannetta and Fenton. Ms. Zetlan's clear, penetrating tone and intense focus in the third act's "Sul fil d'un soffio etesio" induced shivers." New York Times

"[Jennifer Zetlan's] voice has acquired increased color and warmth ... She tapered the phrases in her invocation of the spirits to exquisite effect." Opera News

"Soprano Jennifer Zetlan, a deliciously petite Nannetta ... her high notes pealed and floated exquisitely." Opera Canada Magazine

"Zetlan, already engaged by the Met and NYCO, wove her Queen of the Fairies aria, "Sul fil d'un soffio etesio," in strands of sheerest gossamer." QOnStage.com

The Death of Klinghoffer

Juilliard Opera Center (January 2009)

"Jennifer Zetlan gave a knock-out rendition of the British Dancing Girl's number..." Opera News

"...the down-to-earth ruminations of “British dancer” Jennifer Zetlan are like Hamlet’s gravedigger." ConcertoNet

Looking Forward

New York City Opera (2008-2009)

"Jennifer Zetlan, the soprano, sang the angular vocal lines with an affecting beauty and suppleness." New York Times - April 2009 Review

"The inclusion of excerpts from Lukas Foss's spiky, alluring "Time Cycle," with the agile soprano Jennifer Zetlan as soloist, was a nod to the 12-tone camp, a place Mr. Foss visited but did not live in." New York Times - October 2008 Review

NY 1 Video and Press Release

Schwergewicht, oder die Ehre der Nation

Juilliard Opera Center Triple Bill (November 2008)

"...here the soprano Jennifer Zetlan in an effervescent portrayal." The New York Times

"Jennifer Zetlan was adorable as the straying wife, taking the Fiakermilli-like line in her stride; she and her paramour Gaston ... danced up a storm." Opera News

Our Town

Juilliard Opera Center (April 2008)

"The pin-point clarity and expressive power of Jennifer Zetlan's shining soprano made her a particularly appealing Emily and a vocal talent to watch." Musical America

"Jennifer Zetlan... sings beautifully and affectingly. The part could not be in better hands." New York Times

"Singing Emily was the soprano Jennifer Zetlan, endearing and affecting. She produced endless ribbons of strong, clear lyricism." New York Sun

"...in the last act, when Emily has taken her place among the dead, I found myself mourning the loss of so obviously vital a young woman. The rush of emotion with which the performance ended was a tribute both to Zetlan's skills and to those of the creators of this thoroughly effective opera." Opera News

War and Peace

Metropolitan Opera (December-January, 2007-2008)

"Besides the leading couple, there were seven company debuts in supporting and cameo singing roles ... and Jennifer Zetlan lent a bright soprano to a [small role]." Opera News

La Sonnambula

Florida Grand Opera (February 2007)

"As the nasty Lisa, Jennifer Zetlan was witty and winning, a most entertaining rival." Miami New Times

"Jennifer Zetlan was a suitably pouty, conniving Lisa. Her big coloratura moment in Act II, 'De' lieti auguri a voi son grata,' was proficient and affecting." Opera News

"Jennifer Zetlan's sweet soprano as Lisa, the Inn keeper, also dazzled with some clever singing." Coral Gables Gazette

"Soprano Jennifer Zetlan as Lisa, the inn-keeper and former sweetheart of Elvino was well cast. Her voice has extension and her top notes are bright...the cavatina in the First Act, Tutto e Gioia is not easy with two C. It was clear that she had good command of the role." Diario Las Americas

FGO Young Artist Showcase

Lincoln Theater, Miami (May 2007)

"Jennifer Zetlan's gleaming top notes cut through the murk effectively in the Lucia sextet and the soprano also demonstrated impressive poise and agility in the high tessitura of Gilda's Caro nome from Rigoletto." Miami Herald

"Zetlan posee una voz poderosa y ya ostenta una gran presencia escénica y dominio de su instrumento."
"Zetlan has a powerful voice and she already shows a great scenic presence and dominion of her instrument." El Nuevo Herald

Our Town

Aspen Opera Theater Center (July 2006)

"This dynamic young soprano, who shined last year in Aspen's production of The Cunning Little Vixen, turns in another terrific, all-around performance in the pivotal role of Emily. A first-rate actress with a confident stage presence, Zetlan looks the part and convincingly conveys Emily's evolution from shy adolescent to young mother-to-be to death. She has a lovely, forceful voice with fetching, pitch-perfect high notes." Denver Post

"...it was the soprano who most impressed. With admirable ease she conveyed the wide-eyed naivete of Emily Webb in both visage and voice. Her voice was light but attractively hued and charmingly pliant; her acting sincere and expressed through every movement." Pittsburgh Post-Gazette

"We meet the goody-two-shoes Emily (sung by charming, talented Jennifer Zetlan)..." Rocky Mountain News

"...but not until the third act does a character's singing line unfurl into a full-scale aria, and it's a good one. In the final scene, Emily sings a piece centering on the phrase "Goodbye, world," a long ode to paying attention to every moment in life. Emily was gorgeously sung by soprano Jennifer Zetlan, who triumphed last year in the title role of Cunning Little Vixen." The Aspen Times

NYFOS Concert

100 Years of Juilliard Composers in Song (January 2006)

"I will single out what was possibly the best: Jennifer Zetlan's singing of David Del Tredici's Acrostic Song, from Final Alice. This soprano was pure, unaffected, technically secure: professional." -New York Sun

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William G. Guerri,
Columbia Artists Management
1790 Broadway
New York, NY 10019-1412
(t) 212.841.9680
(f) 212.841.9516
guerri@cami.com