Reviews

~ Press Comments ~

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Mahler Symphony No. 4
Los Angeles Philharmonic Hollywood Bowl
Esa-Pekka Salonen, conducting

“Young Jennifer Foster sang the innocent ‘Wunderhorn’ verses of the finale sweetly. She remained laudably unphazed when Salonen’s speedy tempo threatened to scramble the vocal line.”

~Los Angeles Times

‘Soprano Jennifer Foster arched flowing phrases in the seraphic finale.”

~Los Angeles Daily News

Stravinsky The Rake’s Progress
Boston Cantata Singers
David Hoose, conducting

“The performance of Stravinsky’s “The Rake’s Progress” by David Hoose and the Cantata Singers & Ensemble last night at Jordan Hall was so good that it advanced our understanding of the work. The cast was of individual and ensemble excellence; … Hoose cast the heroine Anne Trulove against type. Jennifer Foster’s dark, vibrant soprano has nothing of the silvery gleam associated with the role, but by the time she reached her great aria of determination, one understood his choice. Her sound is beautiful because it is emotional and true, and she makes simple goodness and true love sound natural and convincing, pointing to the way all of us ought to be.”

~The Boston Globe

“…one of the most challenging of all operas, Stravinsky’s The Rake’s Progress, met with a brilliant success this past weekend at the multiple hands of David Hoose, the Cantata Singers, and an impeccable cast…The warm-toned soprano Jennifer Foster was an appealing Anne Truelove, Rakewell’s steadfast, upstanding, and forgiving fiancée.”

~The Boston Phoenix

“…Hite’s stellar contribution would have had much less impact had he not been surrounded by a cast of Boston all-stars, including soprano Jennifer Foster as the hopeful-through-the-tears Anne Trulove”

~The Boston Herald

Beethoven 9th Symphony
Santa Barbara Symphony
Gisele Ben-Dor, conducting

“The solo quartet…individually strong…Soprano Jennifer Foster had the most distinctive sound.”

~Santa Barbara News Press

Lou Harrison Rapunzel
Cabrillo Music Festival
Marin Alsop, conducting

“Soprano Jennifer Foster floated pure tones above the staff in her air.”

~San Francisco Chronicle

Mozart Mass in C Minor
Orange Coast Singers
Richard Raub, conducting

“Et incarnates est emerged most memorably with Jennifer Foster as the eminently refined, silver-toned soprano.”

~Los Angeles Times

Handel Saul
Irvine Camarata
Robert Hickok, conducting

“Jennifer Foster sang Michal with warmth, conviction and agility.”

~Los Angeles Times

“A high point was the love duet with Jennifer Foster [Brian Asawa, countertenor], when the voices seemed to match seamlessly. Foster ascended the high range of her solo parts with splendid control, and her trill was impressive.”

~Orange County Register

Haydn Mass in Time of War
Pacific Chorale
John Alexander, conducting

“Soprano soloist Jennifer Foster showed agility in her coloratura passages, and her colorful, trilling voice worked well in the quartet sections.”

~Orange County Register

Tucson Winter Chamber Music Festival

“One of the most successful programming choices was the presentation of vocal literature on four of the five concerts, all featuring soprano Jennifer Foster. Foster’s facile vocal agility, dramatic range and ability to draw an audience into her world made her performances of Franz Schubert’s “Shepherd On the Rock,” Alberto Ginastera’s “Cantos del Tucuman,” Maurice Delage’s “Quatre Poemes Hinduous,” the Aria from J.S.Bach’s “Liebster Jesu, Mein Verlangen,” and selections from Louis Spohr’s “Sechs Deutsche Lieder” memorable events. And one of Foster’s finest performances occurred not on the normal festival stage but at a youth concert Thursday morning. Inspired by a full house of attentive students from area school orchestral and choral programs, Foster delivered the Ginastera with remarkable abandon and passion.”

~Tucson Citizen

” . . . this year’s standouts were individuals. Soprano Jennifer Foster adopted a smoldering sound for Falla’s El Amor Brujo, then became a lyric Italian singer in Respighi’s Il Tramonto.”

~Tucson Weekly

“Foster’s crystalline, clear and expressive voice made the words very understandable . . .”

~Arizona Daily Star

Bach Wedding Cantata
Saint Paul’s Music Series Delray Beach Florida

“Stepping in for an ailing soloist, bright-toned soprano Jennifer Foster learned the demanding solo part in a few days. She sang with poise and character.”

~Sun Sentinel

 

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Santa Fe Chamber Music Festival Opening Concert Schumann Lieder

“Foster’s warm, focused soprano and Stolen’s slightly reedy tenor showed especially well in an unsettling setting of Hebbel’s Wiegenlied . . . The high point of the “Spanish Songbook” came in Foster and Stolen’s duet, In der Nacht.”

~Santa Fe Reporter

“Schumann’s duets were redeemed by soprano Jennifer Foster and tenor Steven Stolen’s fine singing and good diction.”

~The New Mexican

Baroque Music Festival of Corona del Mar
Burton Karson, conducting

“Soprano Jennifer Foster gracefully and prettily negotiated the high-wire challenges of Bach’s popular ‘Wedding’ Cantata.”

~Orange County Register

“Foster’s solo served as one of the evening’s vocal highlights. She connected with the text emotionally, demarcated the notes without telegraphing them, and all in bright, pure, carefully controlled and well-modulated tone.”

~Orange County Register

“The vocal quartet sang solidly enough, though sometimes without much personality: the exception was Smith’s pointed and sweetly flowing solos.”

~Los Angeles Times

“Soprano Jennifer Foster Smith provided the more inspiring and illuminating moments of the evening. Poised, animated and impassioned, she added welcome spark to an event that frequently edged toward the routine. “From Rosy Bowers,” a soprano showpiece from “A Bouquet of Songs,” represented the best of Smith’s performance. Her voice has an appealing luster. She sings powerfully, without being shrill, and with much warmth and expression. Furthermore, she is a deft and wry performer. She made a concerted effort to project meaning as well as notes, and the effort paid off. “From Rosy Bowers” demands five shades of madness from the performer. There is room for scenery-chewing here, but Smith gave us refined scenery-chewing.”

~Orange County Register

“Urgent, communicative delivery of the text, a wide range of vocal nuance and telling facial expression made soprano Jennifer Smith, as Galatea, the more convincing of the two principals. Her singing remained vibrant, penetrating and technically secure.”

~Los Angeles Times

Helena in Britten’s A Midsummer Night’s Dream
Los Angeles Music Center Opera
Roderick Brydon, conducting

“The tangled lovers were subtly delineated by Jennifer Foster Smith (the ethereal Helena) . . . “

~Los Angeles Times
~Opera

“Smith and Vlahos sang admirably and acted splendidly—their catfight was deliciously nasty.”

~Orange County Register

“Jennifer Smith is thoroughly enjoyable as the doting/rejected/adored Helena”

~The Outlook

Kristina in Janacek’s Makropoulos Case
Los Angeles Music Center Opera

“Jennifer Smith exuded lyrical optimism as Kristina.”

~Opera

“Jennifer Smith, a sweet-voiced Kristina.”

~Opera News

Anne Truelove in Stravinsky’s The Rake’s Progress
Aldeburgh Festival
Roderick Brydon, conducting

“Luckily [the director] had a good cast. Jennifer Smith’s Anne was tender, warm and secure on the cruel high note that ends her Act One aria.”

~London Independent

Susanna in Mozart’s The Marriage of Figaro
Los Angeles Philharmonic Institute Hollywood Bowl
Lawrence Foster, conducting

“Jennifer Smith was a delightful Mrs. Figaro, standing stock still and even so managing to suggest the drama in her role.”

~Los Angeles Daily News

“Jennifer Smith proved a confident Susanna.”

~Los Angeles Times

“Jennifer Smith a vocally charming Susanna.”

~Pasadena Star News

 

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