In November 2021, American soprano Jennifer O’Loughlin was made a Bavarian Kammersängerin by the Baverian Minister of State for Science and Art. The title was officially bestowed upon her after a performance of Donizetti’s Anna Bolena at the Staatstheater am Gärtnerplatz.

O'Loughlin both sings and acts like a queen: the range she has to master within short phrases is enormous, the coloratura seem effortless, the phrasing is pure and round, the top notes are luminous, the expression is finely sensual. Having gone insane, she knocks over the music stand with a crash and stands as exalted as she is proud. What an end to a deeply touching evening!

Last season (2021/22), Ms. O’Loughlin made two role debuts: Antonia in The Tales of Hoffmann and Rosalinde in Die Fledermaus. For her first major operetta role, she received this rave review:

As Rosalinde, Jennifer O'Loughlin celebrates an extremely convincing role debut. Rosalinde has always been sung by top singers and O'Loughlin is a worthy addition to the list of big names. Her "Klänge der Heimat" (Csardas) almost sounds like Puszta, and a real Hungarian countess isn't hiding behind the mask either! After her outstanding Donizetti queens, this debut was a new peak in her career.

Ms. O'Loughlin made her house debut at the Theater Bonn by jumping in with 24 hours' notice for the indisposed singer as Rosalinde (April 2022).

She also reprised three of her signature roles: Donna Anna in Don Giovanni, Gilda in Rigoletto at Staatstheater am Gärtnerplatz, and Rosina in Il Barbiere di Siviglia (2021/22).

"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....”

The star of the evening... is Rosina, Jennifer O’Loughlin. She is flirtatious, lively, charming, and immensely present. She strings one feather-light coloratura phrase after the other together with extreme perfection. She dedicates herself to great feeling infused with a fine touch of irony.

Future engagements include Luisa Miller in Verdi’s Luisa Miller and Contessa in Mozart’s Le Nozze di Figaro.

During the 2020/2021 season, Ms. O’Loughlin participated in a production entitled "Primadonnas: The Divas of Gärtnerplatz" featuring various arias and ensembles including "O beau pays" and "Mira o Norma". She also made her debut as Anna Bolena in a live streamed performance of Anna Bolena and her debut as Rosina in Il Barbiere di Siviglia, both new productions at Staatstheater am Gärtnerplatz.

The 2019/20 season included her role debut as Gretel in Hänsel und Gretel at Staatstheater am Gärtnerplatz as well as two concerts on the stage of the Philharmonie of Gasteig: "Letzte Nacht des Jahres" (New Year’s Eve 2019) with the Münchner Symphoniker and "Belcanto Opera Gala with the Prague Philharmonic."

She also made her enormously successful debut in the premiere of Rigoletto as Gilda and performed Die Kluge in Die Kluge by Carl Orff at Gärtnerplatz Theater.

Ms. O’Loughlin traversed continents to make debuts with the Russian National Orchestra at the Tchaikovsky Concert Hall in Moscow singing Cunegonde in Bernstein’s Candide and with Oper Graz singing the title role in Flotow’s Martha during the 2018/19 season as well as returning to the Deutsche Oper am Rhein to reprise her performance of Konstanze in Die Entführung aus dem Serail and to Baltimore to sing Handel’s Messiah with the Baltimore Symphony Orchestra which was recorded and released on the Naxos label.

In addition, she reprised four of her signature roles at the Staatstheater am Gärtnerplatz: Leila in Les pêcheurs de perles, Martha in Flotow’s Martha, Fiordiligi in Così fan tutte, and Maria Stuarda in Maria Stuarda for which she received this glowing review in Opera News:

Few sopranos can deliver music and text of this difficulty with such supreme understanding and astonishing, goosebump-raising virtuosity. The evenness of her registers, the strength of her singular vocal timbre, hypnotic and sumptuous, all contributed to an overwhelming performance.

Two important house debuts were made during the 2017/18 season when Ms. O’Loughlin performed at Teatro Massimo in Palermo singing Tytania in Benjamin Britten’s A Midsummer Night’s Dream and at the Deutsche Oper am Rhein singing Konstanze in Die Entführung aus dem Serail. She also returned to reprise the role of Adele in Die Fledermaus with the New National Theater Tokyo.

She also reprised the role of Semele in Haendel’s Semele in the highly successful 2013 production at Staatstheater am Gärtnerplatz.

Under the baton of Roberto Abbado, she debuted at Palau de les Arts Reina Sofía in Valencia as Tytania in Britten’s A Midsummer Night’s Dream (2016/17). While in Valencia, Maestro Abbado invited Ms. O’Loughlin to collaborate with Elīna Garanča on her Deutsche Grammophon recording entitled Revive.

Also during the 2016/17 season, Ms. O’Loughlin was invited to jump in for the same role of Tytania ub A Midsummer Night’s Dream at the Hamburgische Staatsoper as well as making her debut as Donna Anna in Staatstheater am Gärtnerplatz' new production of Don Giovanni.

In 2015, Ms. O’Loughlin performed Pergolesi’s Stabat Mater with the RAI Orchestra Sinfonica Nationale in Torino and Carmina Burana at the International George Enescu Festival in Bucharest. She also made her triumphant debut as Amina in La Sonnambula which launched her success in the bel canto repertoire. For her performance as the gentle sleepwalker she received this ecstatic review:

State Opera Level quality: Gärtnerplatztheater 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.

The production won the AZ Prize for the year’s best opera in all of Munich.

In 2013, she received the Maria Callas Prize for her performance of the Mad Scene from Lucia di Lammermoor at the PARIS OPERA AWARDS and was nominated as Best Female Lead by the Austrian Music Theater Awards for her performance of Cunegonde in Candide at the Vienna Volksoper.

She has sung at the Bavarian State Opera, Théâtre du Capitole Toulouse, the Grand Théâtre de Genève, Maggio Musicale Fiorentino, the Vienna State Opera, the The Salzburg and Bregenz Festivals as well as with the ORF Vienna Radio Symphony Orchestra, the Danish National Chamber Orchestra, the Tonkünstler Orchestra, and with conductors: Manfred Honeck, Zubin Mehta, James Conlon, Roberto Abbado, Daniel Harding, Fabio Biondi, Cornelius Meister, Kristyan Järvi, and Nikolaus Harnoncourt.

Ms. O’Loughlin earned a Bachelor of Music degree at the Peabody Conservatory, a Master of Music degree at the Manhattan School of Music, and received a Karajan Foundation grant to attend the International Zürich Opera Studio. She subsequently became an ensemble member at the Vienna Volksoper and is currently an ensemble member with the Staatstheater am Gärtnerplatz.

She can be heard on the Naxos label performing Haendel’s Messiah, on Elīna Garanča’s Deutsche Grammophon recording Revive, Acide by Haydn with the Haydn Sinfonietta Wien (BIS label), Mass by L. Bernstein with the Tonkünstler Orchestra (Chandos label) and the DVD of Rienzi at the Théâtre du Capitole in Toulouse (Opus Arte).