Acclaim
Hearing a voice on the rise

"Her voice is radiant and intense, rich in the lower part of her range, bright and precise at the top, with astonishing evenness throughout. For such a commanding singer she also cuts a remarkably approachable persona on stage, and has an uncanny ability to discern and embody the character of each song."

"Jennifer Johnson Cano brought to her singing a natural sense of drama and wit that never became trite. Similar flashes of nonchalance were strewn through de Falla’s “Seven Popular Spanish Songs,” along with a smoldering sense of anger in the final “Polo.” But the deepest impression was left by “Asturiana,” a melancholy song whose subject is sorrow itself. Here Cano seemed to cast aside vocal shadings and reveal something steely and pure. The effect was devastating."

David Weiniger, The Boston Globe
Minimalist approach spotlights performers in VOICE Fest's "Carmen"

"Your computer screen has nothing on sitting mere feet from Jennifer Johnson Cano as she relishes every note of the vocal score in the title role of “Carmen,” delivering the lines flawlessly as they resonate in your heart and then disappear forever."

Joshua Peacock, DO Savannah
La Calisto - Cincinnati Opera

"Jennifer Johnson Cano, also in her Cincinnati Opera debut, made a strong impression as Diana. Her voice is pure and steady, a rather dark mezzo with a good deal of flexibility. She handled the comedy and serious moments of her role with equal aplomb."

Joe Law, Opera News
Cincinnati Opera's La Calisto

"Mezzo Jennifer Johnson Cano was a formidable Diana, singing with authority and melting emotion."

Anne Arenstein, City Beat
Noseda, orchestra and fine cast make a heroic case for Met's "Chenier"

"Cano is particularly vivacious and sexy"

George Grella, New York Classical Review
Falstaff: A Massive Achievement Worthy of Its Larger-Than-Life Title Character
"Of the four women in the work, Meg is often the most overlooked. Jennifer Johnson Cano made sure that she was not overlooked on Friday night as she delivered a rather nuanced performance as Meg. She frolicked about as the women schemed in Act 3 and during the final wedding, earning furious laughter from the spectators. Her mezzo-soprano's elegance radiated throughout the theater during her select moments to shine."
David Salazar, Latinos Post
A fine ensemble cast boosts the Met's delightful fifties-era "Falstaff"
"Jennifer Johnson Cano’s mezzo gave balance to ensemble moments and she clearly had great fun with her role; she made one regret that Verdi did not give Meg Page enough solo passages."
Eric Myers, New 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 Johansen, Examiner.com
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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