Reviews for Frau Fluth in “The Merry Wives of Windsor” at the Vienna Volksoper”
Der Neue Merker, Michael Koling, December 20, 2010
“Special praise above all is owed Jennifer O’Loughlin for her performance (Frau Fluth), who once again proven her vocal abilities and finally for once also was the planned premiere cast.”
OÖNachrichten, Karin Schütze, December 20, 2010
“… Jennifer O’Loughlin is convincing with her clear and effortless soprano voice…”
Kurier, Peter Jarolin, December 21, 2010
“The highlight, soprano Jennifer O’Loughlin, produces as a very knowing, ‘men-duping’ Frau Fluth. This trio is extremely funny, and keeps the plot moving.”
Kronen-Zeitung, Karlheinz Roschitz, December 20, 2010
“Jennifer O’Loughlin is a vocally dominating Frau Fluth.”
SN, Ernst P. Strobl, December 20, 2010
“As a dynamic Frau Fluth, Jennifer O’Loughlin is very secure with the coloratura…”
Österreich, Karl Löbl, December 20, 2010
“also vocally perfect Frau Fluth (Jennifer O’Loughlin).”
Kurier, Peter Jarolin, December 20, 2010
“… and Jennifer O’Loughlin as a vocally paramount Frau Fluth stands out in a good ensemble.”
WHL/APA, December 20, 2010
“From the standpoint of singing there were above all two trump cards: Jennifer O’Loughlin mastered the role of Frau Fluth with her bell-like voice.”
Der Neue Merker, Dr. Georg Freund, December 20, 2010
“Two excellent singers dominated the scene: Jennifer O’Loughlin sang the demanding role of Frau Fluth with sparkling coloratura and brilliant high notes, looked lovely and acted, as far as the staging allowed, also very charmingly. One of the two high points of the evening was her great, very amusing aria ‘Nun eilt herbei’…”
Die Presse, Wilhelm Sinkovicz, 14 Dezember 2010
An interview with the soprano star in the Volksoper ensemble, discussing athletic stage experiences, high notes and a singer’s classical bedtime reading. She has never be afraid of the demands of major roles.
“It was good training,” Jennifer O’Loughlin said, who has primarily athletic memories of her first performance at the Vienna Volksoper. “I was engaged as of September 1 and my first role was Valencienne in The Merry Widow – and the first thing I had to do was learn the cancan.”
The American singer has never been afraid of the vocal demands of major roles. Marie in Lortzing’s Zar und Zimmermann and Susanna in Mozart’s Figaro have been among those debut roles, the ultimate challenges in the lyrical fach. O’Loughlin has already jumped in as Susanna at the 2007 Salzburg Festival. That same year she also won a prize at Wigmore Hall’s lied competition in London, which predicted a bright future for her in all genres of the art of song.
She has an audition presented at the Zurich Opernstudio to thank for her engagement in Vienna. “Normally that just means, ‘Thank you. You’ll hear from us.’ And then you never hear anything.” With Jennifer O’Loughlin it was different. From the moment she left the stage she was engaged to sing at the Volksoper. “Since then I’ve had the privilege of singing about fifteen different roles.” And perhaps her most spectacular success has been with the tricky Zerbinetta in Strauss’s Ariadne auf Naxos: “I could still work on this role with Ernst Märzendorfer. He was strict yet very nice to me because I listened to him attentively. What he had to say was unbelievable!”
What especially attracted the Viennese public to the young artist on the occasion of her Zerbinetta debut was that she not only can sing ridiculously difficult coloratura notes beyond a high C, she sings the entire role with a beautifully rounded, full soprano voice. “Already early on I had sung not only the Queen of the Night but also Pamina in The Magic Flute,” O’Loughlin said, “because my midrange worked well. That’s always considered difficult with young sopranos. For me it wasn’t a problem. When I got the opportunity to cover Zerbinetta at the Met, the Ariadne singer told me, ‘When someone hears you singing this aria they’ll think you’re a lyrical soprano.’” Before the high notes come…
Endowed with such vocal abilities, O’Loughlin naturally dreams of the most important of all tasks in her fach: “At some point I’d like to sing Lucia di Lammermoor,” she said. “I’ve already been asked about Violetta in Verdi’s Traviata. That would be a step further than I’m at now. I’d like to study it for another two or three years.” Then Jennifer O’Loughlin would not longer have a fixed contract at the Volksoper, although hopefully she will continue to perform here as a guest artist.
As Gilda for instance: “As preparation I’m currently reading Verdi’s original model by Victor Hugo.” What else is on her night stand? “Of course Shakespeare’s Merry Wives of Windsor,” since she will sing Frau Fluth in the forthcoming premiere of Otto Nicolai’s eponymous work. “Technically it’s definitely not so difficult, but the aria is a jewel. And acting in such a comedy is fun.”
Volksoper: The Merry Wives of Windsor, premiere December 18
(“Die Presse,” print edition, 12/14/2010)
Reviews for Konstanze in “The Abduction of the Seraglio” at the Vienna Volksoper
Der Neue Merker, Renate Wagner, June 15, 2010
“Renata Wagner bought herself a ticket to the ‘B cast’s premiere’ of ‘Die Entführung aus dem Serail’ at the Vienna Volksoper during which the ‘second cast’ Konstanze, Jennifer O’Loughlin, proved herself to really be the first.
“The role must be sung by a born coloratura soprano and Jennifer O’Loughlin is just that. She has an exquisitly pure and clear voice that is simply ideal for Mozart. As for the difficulty of the role, one could imagine this to be the endless legati in the aria ‘Traurigkeit’ during which one must continuously maintain the internal tension of the phrases. To do so is just as tricky as the coloratura passages which receive so much attention. Since Jennifer O’Loughlin is ‘a natural’, she can do both. It is then especially admirable that she presents ‘Martern aller Arten’ not as a virtuoso aria, but as a piece shaped by and through its musical content.”
Krone Zeitung, Volkmer Parschalk, June 23, 2010
“Jennifer O’Loughlin is not merely a vocally commanding and brilliant Konstanze with magnificently dramatic coloratura. (Martern alle Artern) She is also convincing in her portrayal of a woman caught between two men who at times can be down right aggressive as she struggles to defend her rights. Her strength of will is equal to that of the Bassa Selim.”
Radio Stephansdom interview, November 2009
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Reviews for Gilda in “Rigoletto” at the Vienna Volksoper
Oberoesterreichische Nachrichten, Michael Wruss, October 19, 2009
“Jennifer O’Loughlin was remarkable as Gilda. She was the only one to fulfill both the vocal and dramatic demands of her role and to carry the audience away to rapturous applause. This is a Gilda to remember.”
Der Neue Merker, Renate Wagner, October 19, 2009
“Anyway he [Duca] should have chosen her simply because of her voice, since it is wonderful! One never has to worry about the young dramatic coloratura soprano. She sings with confident cantilena, secure coloratura, broad lyricism, and rapturous drama– magical Verdi!”
Der Neue Merker, Peter Skorepa, October 19, 2009
“Thus Jennifer O’Loughlin’s Gilda became the only shining light of the evening with her youthful soprano. It is a voice capable of coloratura and pure high notes in addition to remarkable pronunciation. Only for her had one wished that the production would have been done in the original language – and in the duet with the Duca, she swept him away with Verdian cantilena.”
Die Presse, Walter Weidringer, October 19, 2009
“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.”
Wiener Zeitung, Christoph Irrgeher, October 20, 2009
“As Gilda, Jennifer O’Loughlin not only presented graceful musical phrasing, but also acting talent.”
Österreich, Karl Löbl, October 19th, 2009
“Jennifer O’Loughlin was the only one whose voice and expression fit her role (Gilda) perfectly. She is a person who ignites our compassion.”
Kurier, Marion Hauser, October 19, 2009
Sigrid Hauser raves about Ms. O’Loughlin saying, “When Jennifer sings, one thinks he is hearing a voice from heaven.”
Reviews for Zerbinetta in “Ariadne auf Naxos” at the Vienna Volksoper
DER NEUE MERKER, Peter Skorepa, June 25, 2009
“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.”
Die Presse, Von Wilhelm Sinkovicz, September 2009
“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!”
KRONE ZEITUNG, Karlheinz Roschitz, September 23, 2009
“Zerbinetta charms.”
“Jennifer O’Loughlin’s magical Zerbinetta received a huge ovation.”
Reviews for Tytania in “A Midsummer Night’s Dream” at the Vienna Volksoper
DER NEUE MERKER, Peter Dusek, February 11, 2009
“Jennifer O’Loughlin’s sweet soprano sound and a beguiling appearance were ideal for the role of the fairy queen, Tytania.”
Opera News, Larry Lash, Fall 2006
“American soprano Jennifer O’Loughlin, the company’s reigning Pamina, made a ravishing Tytaniain 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.”
Reviews for Queen of the Night in “Die Zauberflöte” at both the Vienna Staatsoper and the Vienna Volksoper.
DER NEUE MERKER, Kurt Klach, June 24, 2009 (Vienna Staatsoper)
“Jennifer O’Loughlin was completely convincing in the vengeance aria which was duly rewarded by the audience.”
DER NEUE MERKER, Sieglinde Pfabigan, December 12, 2008 (Vienna Staatsoper)
“Jennifer O’Loughlin was capable of releasing the coloratura and extreme top notes of the Queen like a flash of lightning while still offering plenty of middle voice for the calmer passages of her arias.”
DER NEUE MERKER, Anton Wendler, February 14, 2009 (Vienna Volksoper)
“Jennifer O’Loughlin sang her high notes as Queen of the Night with stupendous certainty.”
KRONE ZEITUNG, Volkmer Parschalk, September 17, 2008 (Vienna Volksoper)
“Jennifer O’Loughlin as The Queen of the Night was a hit with fast coloratura. Brilliant.”
Reviews for Musetta in “La Boheme” at the Vienna Volksoper
MERKER, Peter Dusek, April 28, 2009
“Jennifer O’Loughlin’s Musetta is a class event. The voice is more powerful than the Mimi’s (which is seldom the case) – she has temperament and charisma, and not since Mirjana Irosch have I seen the famous waltz scene be so seductive and alluring. Fantastic!”
U-Express, Nadia Weiss, November 17, 2003
“‘Young star’ Jennifer O’Loughlin did justice in every regard to Musetta’s passion.”
Review of Susanna in “Le Nozze di Figaro” at the Salzburg Festival 2007
Opera News, Larry Lash
“A much-needed ray of sunshine, Jennifer O’Loughlin, subbing for Diana Damrau on a day’s notice, offered a dreamy, lusciously-sung Susanna, bringing color and spontaneity to every word of recitative. In her Salzburg debut, the twenty-nine-year-old American’s sensuous, seductive, playful “Deh, vieni” was the evening’s highlight.”
Reviews of Pamina at the Grand Théâtre de Génève
Neue Züricher Zeitung, December 18, 2007
“…and here the Geneva Opera comes up with a high-ranking cast: …. Increasingly impressive Jennifer O’Loughlin as Pamina…”
ConcertoNet.com, December 19, 2007
“…and a mischievous yet touching Jennifer O’Loughlin with a velvety voice as Pamina…”
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