"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

'“La Serva Padrona,'  is all laughs, and the duo of soprano Jana McIntyre... conveyed the piece’s charms seamlessly. McIntyre dispatched her assignment with a silvery sheen (all while contending bravely with recalcitrant sets and props), and Noyola channeled his robust, chestnut-hued tone into a performance of comic bravura... zinging, trilled “r’s” of soprano Jana McIntyre as a saucy and domineering maid... the sheer firepower and finesse of the singing carried the night.  - Steven Winn, San Francisco Classical Voice

On the comic side, soprano Jana McIntyre’s Blonde and bass Matthew Anchel’s Osmin, singing “Ich gehe doch rate ich dir” from “The Abduction from the Seraglio,” made one wish someone would mount a full production of Mozart’s opera just for them.
— Georgia Rowe, Mercury News

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

"The Gluck was a much more straightforward affair. Joining Costanzo in the endeavor were soprano Kiera Duffy as Euridice, soprano Jana McIntyre as Amore... Both sopranos demonstrated fine, healthy voices—adept and flexible and rigorously exact. "   - Patrick Clement James, Parterre Box

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"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

"featured soprano Jana McIntyre as Zerbinetta... I can’t say enough about the outstanding vocalism displayed here by McIntyre... McIntyre’s soprano was limpid and ardent. The musical interchange between McIntyre and Hankey was full of intelligence and passion. These two singers will surely go far in their careers!"  -  James Roy Macbean, The Berkeley Daily Planet

The evening’s finale sparkled with the technique and comic abandon required by Rossini’s Le Comte Ory. Soprano Jana McIntyre (Santa Barbara, CA) engaged in a tug of war for vocal supremacy, with Josh Lovell playing the title character. Let’s call it a draw. Both drew hearty cheers from the audience and they were equally charming, even if McIntyre’s agility was truly breathtaking.
— Philip Campbell, The Bay Area Reporter
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...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


...role of La Fée (the fairy godmother), Jana McIntyre exhibited a fine sense of Gallic style
— Lawrence Budman, South Florida Classical Review, Miami Herald

"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

"highlight... soprano Jana McIntyre as the frivolous and flirtatious Zerbinetta." -  Michael Strickland, SF Civic Center Blogspot

"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

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"Jana McIntyre made a believably seductive Serpina, mining the

part for every laugh 

and charming with 

her bright and liquid coloratura."

- Philip Campbell, The Bay Area Reporter

"Serpina was coquettishly sung by Jana McIntyre, who possesses exquisite vocal technique, great acting ability, and a soprano voice that will take her far. Jana McIntyre is definitely a singer to watch! ...Together, Jana McIntyre and Daniel Noyola were as superb in their roles as one could ever hope to hear."     - James Roy Macbean, The Berkeley Daily Planet