Acclaim
Three World Premières with a Side of Bartók
"Could Harbison have asked for a more compelling vocal interpreter than the young mezzo-soprano Jennifer Johnson Cano? She warmly communicated the emotional impact of every phrase, employing with evident ease a vibrant, bright mezzo voice that commanded the modest confines of Sherwood Auditorium. With all of her operatic horsepower, however, she did not allow a single word of Glück’s concise text to slip by unnoticed."
Ken Herman, San Diego Story
A Master Singer Transmits Her Artistry
"The mezzo-soprano Jennifer Johnson Cano demonstrated emotionally concentrated musicianship in three songs by Liszt, with fervent piano accompaniment by her husband, Christopher Cano. Her voice seems to come out of a happy nexus of heart, soul and brain that lends an authoritative weight to every note."
Corinna da Fonesca-Wollheim, New York Times
Mozart's Mass in C Minor
"Her fresh, fruity tone was a pleasure to hear; so was her effervescent phrasing. She rather gilded the lily with her “joyful” deportment in the Laudamus Te movement: the smile in her voice so completely expressed the sentiment that no special gestural emphasis was needed."

Fred Cohn, Opera News
Virginia's Woolf's Words, a Singer's Voice
"Character — individuality, a taste for risk — is the attribute some find lacking in young American singers, but Ms. Johnson Cano has it: an honesty and assurance so impressive that you want to call it bravery."

"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 Woolfe, New York Times
Mezzo Soprano's Jennifer Johnson Cano's talent has depth
"Those who missed Monday's recital by the young mezzo-soprano Jennifer Johnson Cano at the Kennedy Center Terrace Theater lost a rare opportunity to hear a fine talent with a promising future right at her doorstep."

"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."
Cecelia Porter, Washington Post
Two terrific singers keep COT's song cycles focused on the music
"Jennifer Johnson Cano brought a sincerity and emotional depth to these beautiful songs that made the texts' occasional excesses seem completely irrelevant."
Lawrence A. Johnson, Chicago Classical Review
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