Rigoletto
... with the intense, beautiful-sounding Gilda by Jennifer O'Loughlin.
Jennifer O’Loughlin sings this part with a powerful, full tone and imposing energy: In her interpretation, Gilda transforms from a passive victim to a confident young woman who behind her glasses is more knowledgeable and capable than she is allowed to admit.
Jennifer O'Loughlin portrayed a Gilda that went beyond her feminine appearance, reveling in blissful piani, a touch of classical Bel Canto artistry beautifully contrasted with grand emotional outbursts.
The soloists convince across the board with commanding and expressive singing. Above all Jennifer O'Loughlin, who assumes the role of Rigoletto's daughter Gilda, displays extreme virtuosity and vocal skill in her solo pieces.
Jennifer O'Loughlin offers well cultivated vocal skills, a Gilda who combines the emphatic with fine vocal shading.
Jennifer O'Loughlin is Gilda, she is with every inch, every sound, every decibel the incarnation of what one expects in a coloratura soprano. Made to be a little bit nerdy in this production, she establishes with humility, grandezza and touching vocal skills an extraordinary inner emotional world. Everything is just right!
Jennifer O'Loughlin as Gilda was in no way the dreamy, pious, poor soul that can often be heard in this role. Rather, she is a clever and self-confident character who views herself as cheated out of her ideals and would sooner die than grow old in this desire driven and very disturbed society.
Jennifer O'Loughlin as Gilda was the best choice. It would hardly be possible for this difficult part to be better mastered than by her soprano, rich in piani and clear as a bell. The audience erupted in cheers for her "Caro nome." She was also fully convincing in her portrayal of the seduced, self-sacrificing girl.
This Gilda is Jennifer O'Loughlin: whom several audience members, who traveled from Vienna for the premiere, remember in this role at the Vienna Volksoper. To further praise her voice skills or singing style would be like hauling coals to Newcastle, as the saying goes. There is no other way to describe her crowning high notes, and not only these, other than perfect.
Die Perlenfischer
One must count Jennifer O'Loughlin among today’s leading lyric coloratura sopranos. She shines with broadly arching, lyrically flowing melodic lines, round top notes, and accurate coloratura into the highest heights.
Jennifer O’Loughlin sings the priestess Leila with fearless and passionate high notes. She is perfectly cast with her dramatic coloratura voice.
The cast is great. Jennifer O’Loughlin’s (Leila) diction is a little bit lazy, but her voice and coloratura are a force.
The soloist are all ensemble members who do honor to their house.... The dramatic outbursts of Leila take the voice of Jennifer O'Loughlin to its extremities particularly in the low register. But who wants criticize when she offers without stinginess such confidently executed coloratura, such an impressive upper extension, and fiery top notes?
Jennifer O`Loughlin is a Leila with a wonderfully flexible voice – pure, bell-like, with silvery coloratura in the prayer aria and also the necessary carrying power for the more dramatic aspects of the character, for instance, in the duet with Zurga.
Jennifer O’Loughlin's Leila at first radiated a youthfulness in "Dans le ciel sans voiles" and then also found passionately sweet soprano sounds in scenes with Nadir.
La Sonnambula
In the title role of La Sonnambula, one once again experienced Jennifer O'LOUGHLIN who not only displayed perfect coloratura- secure to the very heights of her voice- but also perfect acting abilities as the sleepwalker Amina. Both major arias of Amina can hardly be surpassed and make the artist into a world star coloratura soprano.
At the end of the opera, Jennifer O’Loughlin had a few tears in her eyes as she received the wild applause of the audience. “La Sonnambula”, Vincenzo Bellini’s opera about a supposedly unfaithful sleepwalker, has always been a piece which above all else required great singers. Therefore it is especially remarkable that in Gaertnerplatztheater’s new production, every single role was successfully cast. O'Loughlin's soprano glides weightlessly through the vocal registers in the title role, easily integrating even the most complex ornaments into the line. The American has a lot of sense and taste for Bellini's "melodie lunghe", the slow endless melodies, which she colors with the finest piano nuances. And in the duet, her voice harmonizes perfectly with the warm sound of tenor Arthur Espiritu...
The American debutante, Jennifer O’Loughlin, almost allows the “mormorar” of the brook to die. It is remarkable how she coordinates the movement of her voice and body as Amina dances out out sync with the others at the engagement party because she is following the vocal line.
State Opera Level quality: Gaertnerplatztheater presents Vincenzo Bellini's opera "La sonnambula" with the outstanding Jennifer O'Loughlin in the Prinzregenten Theater.
The soprano Jennifer O'Loughlin and the young tenor Arthur Espiritu offer bel canto pleasure without regret. The American sings Amina astonishingly perfectly. Other singers also have perfect coloratura, an appealing, not too steely timbre, and the ability to color long melodic phrases. But Jennifer O'Loughlin also accomplishes the ultimate: she thrills not only technically, but rather awakens to life the sensitive sleepwalker as a stage presence.
But the huge success of the evening was for Jennifer O’Loughlin in the title role.
The whole level of the evening proved that the "Gärtnerplatz" is not Munich's "second" opera house, but "Munich's other opera house". After a short "settling phase", Jennifer O'Loughlin spun with tender, sometimes radiant vocal arcs Amina’s romantic and blissful dreaminess about the upcoming wedding which made her character, one who does neither lives nor loves entirely in reality, believable. And the "dolcezza," which the Philipino-American tenor Arthur Espiritu, as Elvino, emitted after his first few phrases, made her disposition even more comprehensible. When the two sang together, especially in the Dacapo sections of their duets, they first pulled their voices back into a fine “mezza voce” which then began to burn in unforced attacks which increased in radiant excitement. Here there were no artificial fioritura and coloratura of mere decoration, but the dazzling foaming of emotions and exaltations of exuberant souls.
The fanciful sleepwalker, Amina, rapturously in love is a signature role for the delicate, radiant soprano of Jennifer O’Loughlin even though scenically she must occasionally exceed the tolerable limits of naivete. In the first aria, the soprano begins with a bit too much voice and emphasis on the vocal ornaments. But as the opera continues, she becomes ever freer, more self-assuredly juggling the tricky part all the way to the intense and dramatic final scene. In the newly formed Gärtnerplatz-Ensemble, the US-American will play an important role in the coming season (we anticipate) - not surprisingly, if general director Josef E. Köpplinger places more Donizetti and Bellini at her feet.
Così fan tutte
Jennifer O’Loughlin (Fiordiligi) was the only singer for the revival to have also performed with the original premiere cast. Her voice has grown in fullness and beauty in the middle register which was made most evident in her second aria. The audible development of her voice has taken place in conjunction with other appropriate roles offered to her by the Gaertnerplatztheater. We can look forward to her Leila in the "Pearl Fishers" and especially her Donna Anna at the end of the season.
The Staatstheater am Gärtnerplatz can be really be proud of one thing: "Cosi" has a rather grandiose cast; At least four-sixths. Where to start? Perhaps with the Fiordiligi, Jennifer O'Loughlin [...]. So, the Fiordiligi: exuberant and equipped with much humor and wit, O'Loughlin has a magnificent Mozart soprano, full of colors, light, warm, lyrical, mobile - yes, almost perfect.
Jennifer O’Loughlin (Fiordiligi) captured the slightly parodic seria pathos of her arias [...]
Jennifer O'Loughlin impressed with supple coloratura and impeccable high notes.
Jennifer O'LOUGHLIN sang Fiordiligi with powerful, sophisticated soprano heights (“Come Scoglio”)—note perfect—and also presented a strong female personality until the final curtain...
Die Entfuehrung aus dem Serail
Above all was Jennifer O’Loughlin, who has already succeeded with Mozart in Munich, Vienna, and at the Salzburg Festival. Her voice, a securely guided coloratura soprano all the way into the extreme high register, had what every Konstanze needs: delicate nuance of expression when she opens her heart and reveals her sadness, but also those dramatic lightning bolts, which authenticate her determination and readiness to die.
Great performers were on stage: Jennifer O'Loughlin, who brings both lyrical Cantilena and brilliant coloratura for the role of Konstanze. Bravo and applause after her “Martern aller Arten” aria. Above all, she has the necessary stability to withstand the extremely seductive Bassa, Raphael von Bargen, and to even slap him in the face!
Although Jennifer O'Loughlin, with all the strength of her luminous soprano, heartbreakingly sings of her grief in the aria "Ach, ich liebte, war so gluecklich!", it's clearly not just Selim's generosity she has touched.
Jennifer O’Loughlin fulfilled the big arias of Konstanze with wonderfully sensitive melancholy and true sadness. Her gorgeous, seamless, warmly colored voice was touching in the soft melodic lines and plunged with clean attacks into the fast runs and coloratura.
The role must be sung by a born coloratura soprano and Jennifer O’Loughlin is just that. She has an exquisitely pure and clear voice that is simply ideal for Mozart.
The final of the Paris Opera Awards last Friday at the Salle Gaveau, saw the triumph of Jennifer O’Loughlin. With two arias, (“O, Zittre Nicht” and “Il dolce suono”), the young American soprano, who currently lives in Vienna, won the jury and public. Rare in a contest, we even saw at the end of Lucia’s Mad Scene, a part of the room stand up to show its enthusiasm. With a voice that is sustained, even, and agile, Jennifer O’Loughlin is better than a mere coloratura. Virtuosity and brilliance indeed belong to her vocal vocabulary, but it is her strong central register that gives this piece that extra something. It is the music as a mode of artistic expression, rather than a vocalise, which she uses as a means of characterization. This expressive ability, coupled with a great stage presence earned her, in addition to the Audience Award, the Maria Callas Prize for the best interpretation.
Rigoletto
Jennifer O’Loughlin was the only singer to master her role truly impressively. Recently successful as Zerbinetta, she definitely approaches the musically complex role of Gilda from the coloratura side. Nevertheless, she offers plenty of voice in addition to her light upper register and silvery sound.
Ariadne auf Naxos
Her (Zerbinetta’s) experiences with the world of men were expressed with the erotic rejoicing coloratura and remarkable high notes of Jennifer O’Loughlin. Her soprano has a dramatic core and can thus avoid soubrettich gestures.
The Zerbinetta of Jennifer O’Loughlin is a small miracle of precision -even unto the precisely defined sixteenths and thirty-second of the murderous coloratura. A single note in the vocal fireworks of the vast central Rondo was not quite clean, a sensational record, God knows, not only in the Volksoper!
A Midsummer Night's Dream
American soprano Jennifer O’Loughlin, the company’s reigning Pamina, made a ravishing Tytania in her role debut. Her substantial, creamy voice has the coffee coloring we associate with the young Leontyne Price or, more recently, Renee Fleming, so it’s a bit of a surprise to hear her effortlessly spin Britten’s challenging melismatic, high coloratura passages. In an international cast whose diction was all over the place, O’Loughlin’s every syllable could be understood.
La Bohème
'Young star’ Jennifer O’Loughlin did justice in every regard to Musetta’s passion.