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Opera Theater of St. Louis – Street Scene
“Jennifer Aylmer's Rose Maurrant sang strongly and captured the character's
spunk, doubts and strength of character.”
- St. Louis Post-Dispatch
“Jennifer Aylmer was a charming and hopeful Rose.”
- The Wall Street Journal |
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Utah Opera – Die Zauberflöte
“Leading the cast is soprano Jennifer Aylmer as Pamina. She was fabulous in her role. Her acting was wonderful and her singing superb. Particularly stunning was the poignancy she brought to the aria “Ach, ich fühl’s,” when she believes Tamino no longer loves her.”
- Desert Morning News
“Soprano Jennifer Aylmer, as Pamina, made the best impression among the soloists on opening night with her warm lyric voice and engaging stage presence.”
- The Salt Lake Tribune |
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New York City Opera – The Magic Flute
“The soprano Jennifer Aylmer’s creamy voice was nicely suited to the role of Pamina.”
- The New York Times |
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New York City Opera – Orlando
“…Dorinda, a shepherdess, sung by the sweet-voiced and agile soprano Jennifer Aylmer.”
- The New York Times
“Jennifer Aylmer gave a tingling performance as the insouciant shepherdess Dorinda, who manages to regard even her own unrequited pining with amused detachment. Aylmer wears her technique lightly and places it at the service of character, humor and a fluid sense of theater.”
- Newsday
“Dorinda is sung by the charming Jennifer Aylmer, painting a character at once realistic, a bit manipulative, much aware of the fickleness of Love. Her soprano voice is pristine and lovely.”
- Classics Today.com |
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Lyric Opera of Kansas City – A Midsummer Night’s Dream
“…Jennifer Aylmer (was) a scintillating Tytania…”
- The Kansas City Star |
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Michigan Opera Theater – Don Pasquale
“Aylmer more flirtatious comedy to her account of Norina’s wiles in Quel guardo il cavaliere.”
- Detroit Free Press |
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Berkshire Opera Company – Turn of the Screw
"Jennifer Aylmer delivered one of the greatest Governesses since that of Helen Donath, whose lovely, sunny sound and sensitivity to dynamics and phrasing the attractive young soprano brought to mind. A fine actress, Aylmer projected the character's shyness and increasing obsessive agitation with excellent diction and pinpoint physical skill."
- Opera News
"Jennifer Aylmer, making her debut here as the Governess, displayed a seamless and plangent soprano, always inn control in evoking an innocent's first chilling encounter with supernatural terror. A most convincing singing actress, Aylmer provided the crucial personification of the work's title as the figurative screw of realization tightens ever more."
- The Berkshire Eagle
"Jennifer Aylmer heads the excellent cast in her Berkshire Opera debut as the Governess. Aylmer's nimble, multifaceted soprano has served her well as the newest works of contemporary composers. In her turn as the Governess, she displayed a vast range of telling vocal color from bell-pure pianissimos to robust, dark-edged fortes on her journey from innocence to madness."
- Union News
"her soprano is strong and steady, and she is a powerhouse singing actress."
- The Boston Globe |
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New York City Opera – Flavio
"But one could argue that the main news about City Opera's ''Flavio'' is the music -- especially the countertenor Bejun Mehta as Guido and the soprano Jennifer Aylmer as Emilia... Ms. Aylmer was a worthy partner, with showers of warm easy coloratura in her first aria and full sad sweetness in her later laments."
- The New York Times
"Their vocal brilliance, along with Jennifer Aylmer's glittering soprano as the sorely beset Emilia, contrasted nicely with the lower-voiced drolleries..."
- New York Magazine
"Soprano Jennifer Aylmer's lament over her father's body was a model of shapely phrasing, tonal purity and emotional warmth."
- The New York Post |
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Orlando Opera – Le nozze di Figaro
"At Friday's opening, Eduardo Chama and Jennifer Aylmer headed up a young cast that brought looks, spirited singing and vivacious acting to Mozart's comedy... Bass-baritone Chama and soprano Aylmer were well-matched in every way. His deep, hearty voice complemented her lustrous one. His bounding energy set off her femininity and sparkle Aylmer, in a nice touch, ended her last-act love song by blowing a kiss to the uncomprehending Figaro, who was hiding behind a bush. But really that kiss had already been dispatched by her voice, floating so sweetly through the aria."
- The Orlando Sentinel |
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Austin Lyric Opera – Rigoletto
“Such an aggressively alternative staging demanded that the cast act in spades. As Gilda, soprano Jennifer Aylmer – who impressed Austin as Stella in ALO’s “A Streetcar Named Desire” earlier this year – did all that and more. Her supple, rich voice captured all the emotion of her perplexed character; her subtle acting lifted the character of Gilda far past the ordinary.”
- Austin American-Statesman |
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Lake George Opera – Il Re Pastore
“Soprano Jennifer Aylmer, as the Shepard king Aminta, towered over the rest of the singers with her dark timbre, floating intonation and deft coloratura, her voluminous projection sometimes filling the miniature hall’s box space beyond the saturation point.
- Opera News
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Photo courtesy of NYFOS
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New York Festival of Song – “Fats and Fields”
“Aylmer excelled in somewhat bluesy material like the McHugh-Fields "Don't Blame Me" and the Waller-Marion "There's a Man in My Life." She and Kaye sang gorgeously together in the Waller-Maltby "The Jitterbug Waltz," which included another unexpected and delightful duet, from Graae and Martin on oboes. (Yes, oboes.) This is not a song that you would expect to bring down the house, but it did. Any worries that Aylmer and Kaye might have trouble providing "Baby, Dream Your Dream" with the right idiomatic feel were quickly dispelled.”
- Talkin Broadway.com |
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New York Festival of Song – “Lyrics by Shakespeare”
“Ms. Aylmer’s name has been getting around recently, and deservedly so; hearing her live was one of the greatest pleasures of the evening…her sound is not manufactured but clear and her own.”
- The New York Times |
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Cincinnati Symphony – Mahler’s Symphony #4
“Soloist in the Finale of the Mahler was Jennifer Aylmer – whose bright, clear vocalism warmed like a summer sunrise.”
- Cincinnati Post
“Aylmer…sang with ideal lightness and purity and caught the childlike innocence of the words.”
- Cincinnati Inquirer |
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Rochester Philharmonic – Barber’s Knoxville: Summer of 1915
“Soprano Jennifer Aylmer, the soloist in the Barber, delivered the best vocal performance that I’ve heard in Rochester all year. She has a powerful and expressive voice; and her effortless, conversational manner created a nostalgic mood, calling to mind a lazy summer day in Knoxville.”
- Democrat and Chronicle |
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Chicago Symphony’s MUSIC NOW – Esa-Pekka Salonen’s Floof
"Amid Aylmer's dazzling array of yelps, swoops, whispers and gorgeously ringing high notes, the words were impossible to follow anyway. The only sane response was to forget the printed page and bask in the aural delight of Aylmer's dazzling shifts from regal command to cool insouciance and fatally attractive seduction."
- The Chicago Sun-Times |
