Carmen - Boston Lyric Opera
Mezzo Jennifer Johnson Cano did full justice to the title role. A hair-raising card scene, replete with dramatic chest notes and bold attacks in the upper register, was a highlight.
Angelo MaoOpera News
Jennifer Johnson Cano and Christopher Cano at Tertulia Chamber Music
"The Canteloube songs perhaps found Cano most in her expressive element: she is a mesmerizing actress, fully committed to her text. For the Canteloube selections, she herself translated the Auvergne dialect into English for the program notes, an accomplishment that only strengthened her connection to the songs’ characters: she knows what she is singing, why she’s singing it and to whom she is singing. As a result, she allows emotion to propel her voice into glorious moments. In “La Delaïssádo,” the shepherdess’s lover does not come to meet her, and she is devastated, as were Cano’s listeners."
"Barber’s Three Songs, Op. 10, music set to the poetry of James Joyce, found Cano’s piano and forte moments both equally warm and voluptuous. Her English diction was crisp and clear, so much so that the words printed in the program were superfluous. The Barber selections were also a demonstration of her technique and control. Her exquisite vibrato is neither too quick nor fluttery. The top of her range has no pinch or stridency, and yet she is able to deploy the depths of her range for rich, dark low notes, which allowed her to convey passion to the point of torture in “Rain Has Fallen.” It also helps that she has enormously expressive eyes and a voice that, somehow, never overwhelmed the space, despite her instrument’s size. In “I Hear an Army,” she packed the room with the feeling of a trudging soldier by means of specifically calculated rhythmic patterns and stresses."