"In the dominant role of Andromède, Jana McIntyre combined a dancer’s grace, mercurial wit and a vibrant soprano tone."
- David J. Baker, Opera News
"Jana McIntyre consumes the stage as Andromède. Her lovely voice, with a slight French accent, reaches high and low comfortably. The challenges of the role are not perceptible because McIntyre has thoroughly mastered difficulties and made them pleasures."
- Susan Hall, Berkshire Fine Arts
New York Times Best Classical music of 2016
"‘PERSÉE ET ANDROMÈDE’ With this loving excavation of a largely forgotten 1921 one-act by Jacques Ibert, April gave audiences an entirely fresh experience. In this case, that provided what was likely the American premiere of a glowing mini-masterpiece, fitted with a talented cast and a lithe, delicate orchestral performance led by Pierre Vallet."
"...Opening with a quivering depiction of a maritime dawn and dotted with impassioned yet lucid, classically balanced monologues for its soprano star, the lithe, autumnal score anticipates the late Strauss of “Die Liebe der Danae'"
- Anthony Tommasini, Zachary Woolfe, Corinna da Fonseca-Wollheim, David Allen, and James R. Oestreich, The New York Times
"Mr. Costanzo, a magnificent Orfeo, was joined by the sweet-voiced soprano Kiera Duffy as Euridice. The soprano Jana McIntyre, appearing in the balcony, was the god Amor. The chorus sang from National Sawdust’s entrance area. The performance stopped cold at the very instance in the opera at which Orfeo looks back, then an unearthly little coda for violin and orchestra by Mr. Aucoin provided a grimly dramatic end to the evening. " - Anthony Tommasini, The New York Times
"As Amore, Jana McIntyre sang well and was cleverly presented partly as a puppet, partly as a person, with particularly expressive wings." - David Patrick Sterns, WQXR
"Soprano Jana McIntyre was a last-minute replacement for Amore, and she fared well; ... (she) possessed the perfect temperament to be singing Italian repertory. McIntyre also had the most wonderful costume: she stood in the balcony with her neck rested on the bust of a naked cherub, and she flapped multicolored wings and batted her sparkly lashes with firm commitment to her character" - Maria Mazzaro, Opera News
"Jana McIntyre nailed the Queen of the Night’s two arias and, even more impressively, looked like she was having fun doing it." - Joanne Sydney Lessner, Opera News
...flittering, glittering set of ringing high Fs..."
"The soprano part everyone remembers in this show is the Queen of the Night, even though she's only onstage for ten minutes. Soprano Jana McIntyre did not disappoint, offering a dazzling upper register with pin-point control in "O zittre nicht". The even more difficult "Der hölle Rache" featured a flittering, glittering set of ringing high Fs. This was an impressive run through this show-stopping number." - Paul J. Pelkonen, Superconductor, Culture Magazine
"Ms. McIntyre is new to us but we definitely want to hear more of this compelling coloratura whose vocal fireworks were marked by accuracy and artistry. The rapid-fire embellishments came across without any slurring; every note was well articulated." - Meche Kroop, Voce di Meche
"Standouts were... Jana McIntrye, whose sensational, always musically phrased Queen of the Night exceeded many heard on professional stages." - David Shengold, Gay City News
"McIntyre went on to sing an explosive Zdenka."
- David Gregson, Opera West