Noseda, orchestra and fine cast make a heroic case for Met's "Chenier"
"Cano is particularly vivacious and sexy"
George GrellaNew York Classical Review
Falstaff: A Massive Achievement Worthy of Its Larger-Than-Life Title Character
David SalazarLatinos Post
A fine ensemble cast boosts the Met's delightful fifties-era "Falstaff"
Eric MyersNew York Classical Review
Jennifer Johnson Cano makes Carnegie Hall debut
"In a program of French, German, English and Russian, they (Mr. and Mrs. Cano) delighted, wowed, and stunned us with great theatricality and profound musicianship by pulling out all the stops, and sparing no vocal trick."
"In her Russian set, she gave us chills in her dramatic interpretation of Georgy Sviridov’s “The Virgin in the City.” As the chords churned and the text delve deeper into the story, Ms. Cano’s performance became darker and more thrilling. She kept one on the edge of ones seat as the piece drew to its climax. The music and her poetry in the text just broke your heart."
"At the end of the day, all any of this is about connecting. Taking simple dots on lines and communicating from a single person, or persons, to a group of people sitting in the dark. Simple in concept yet marvelously gratifying when executed properly. Mr and Ms. Cano not only communicated, but they touched our souls with their music."
"This is how recitals should be sung: gripping, communicative, and spellbinding."
Jake JohansenExaminer.com
Three World Premières with a Side of Bartók
Ken HermanSan Diego Story
A Master Singer Transmits Her Artistry
Corinna da Fonesca-WollheimNew York Times
Mozart's Mass in C Minor
Fred CohnOpera News
Virginia's Woolf's Words, a Singer's Voice
"Emotion suffused every moment of her eloquent, impassioned New York debut recital. She met with elegance and confidence all the challenges of a varied program... Hers is better than a good voice; it's an interesting one."
Zachary WoolfeNew York Times
Mezzo Soprano's Jennifer Johnson Cano's talent has depth
"Her sweeping gestures, expansive dynamic range and myriad tonal colors reflected Woolf’s most intimate confessions, giving them an immediacy directly felt throughout the theater."
"With the first notes of Porpora's ultra-baroque homage to Jove, it was obvious that Cano has a voluminous voice with remarkable agility in her higher range and a molten contralto quality lower down, gliding between these registers with seeming ease."