Jennifer Brennan-Hondorp

Kishna Davis

Pamela Hinchman

Pamela Hinchman

Teresa Seidl

Shawnette Sulker

Stella Zambalis

Buffy Baggott

Julia Elise Hardin

Jennifer Lane

Carol Sparrow

Michelle Wrighte

Robert Bracey

Benjamin Brecher

James Doing

Randolph Locke

Jeffrey Springer

Mark Thomsen

Bradley Williams

Graham Fandrei

Kenneth Overton

Frederick Reeder

Charles Robert Stephens

Gerard Sundberg

James Patterson

Additional Artists



Concert Quartets

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Jennifer Lane, mezzo-soprano



“….five fine vocal soloists….especially delightful were Samuelson and Lane in the duet “Et in unum Dominum.”” [J.S. Bach, B Minor Mass, Santa Rosa Symphony}

Niels Swinkels, San Francisco Classical Voice, December 15, 2012


"A female ‘male alto’

—The program’s second vocal item introduced a major addition to Tempesta’s musical resources. The soloist, Jennifer Lane, is an alto with a voice that can best be described as a “female male alto. As we all know, the alto parts in Baroque works were sung by castrati. Nowadays, they’re usually sung by mezzo-sopranos. The small number of men who possess natural male altos always steal the show when they show up on a Baroque program. Their voices combine the color of the female alto with the extra power and resonance created by the male chest. Lane possesses the extra range and the distinctive timbre of the male alto. She isn’t quite as powerful, but that’s an irrelevant consideration in a chamber concert presented in a small space. Her text was a passage from St. Augustine— “O Thou Who Givest All Good Gifts”— set by a composer, Johann Rosenmüller, who was born in 1619, the year after the Thirty Years War began. Lane’s voice colored it with one of the rarest and most distinctive sounds of Baroque music." [Tempesta di Mare, Art of the Prophets]

Tom Purdom, The Broad Street Review, December 11, 2012


“The one possibly great composer was Johann Rosenmüller, represented by the vocal work "O Dives omnium bonarum dapum" that shows him looking back to the more vocally rhapsodic manner of Schütz. Few singers project such an ideal union of clean vocal line and discreet vibrato as contralto Jennifer Lane. Music of this era repays subsequent visits on YouTube if only because it goes down so easily that you can miss the subtleties. But don't expect ever to hear Rosenmüller sung so well.” [Tempesta di Mare, Art of the Prophets]  

David Patrick Stearns, The Philadelphia Inquirer, December 11, 2012


Jennifer Lane wrapped her penetrating mezzo-soprano around every utterance, especially in the aria “Erbarme dich” in collaboration with Julian Ross’ affecting violin solo.” [J.S. Bach, St. Matthew Passion, Baldwin-Wallace Bach Festival]

Donald Rosenberg, The Cleveland Plain Dealer, April 15, 2012


“Lane [as Irene] was a wonderful foil to Ava Pine in a vocal sense; her tone is velvet-smooth, with a rich darkness that carries a subtle gravitas in the music.” [Handel, Theodora, Graeme Jenkins, Dallas]

John Norine, Jr., TheaterJones, February 24, 2012


Also on the list of high points were Lane’s moving “Defend her, Heav’n” and Pine’s and Angel’s beautifully sung duet “Thither let our hearts aspire.” [Handel, Theodora, Graeme Jenkins, Dallas]         

Olin Chism, Art  & Seek, February 24, 2012


“Distinguished contributions from…Jennifer Lane,…” [J.S. Bach, St. Matthew Passion, Soli Deo Gloria, John Nelson]

John von Rhein, The Chicago Tribune, April 21, 2011


“The musical forces could hardly have been bettered…there was an excellent quartet of soloists...Jennifer Lane rounded out the group solidly, the interplay with Deborah Nemtanu’s violin quite effective in Erbarme Dich.” [J.S. Bach, St. Matthew Passion, Soli Deo Gloria]

Mark Thomas Ketterson,, April 20, 2011


“Jennifer Lane, in her Chautauqua debut…Ms. Lane handled her deeply-felt solo in the fourth movement expertly.” [Mahler, Symphony No. 3, Chautauqua]

Robert Finn, The Chautauquan Daily, August 2, 2010


Jennifer Lane wrapped her voice poignantly around the mezzo-soprano phrases of the oratorio’s most anguished aria, “Es ist vollbracht,” with Schiffer as eloquent gamba soloist.” [J.S. Bach, St. John Passion, Baldwin- Wallace Bach Festival]

Donald Rosenberg, The Cleveland Plain Dealer, April, 18, 2010


“Jennifer Lane, the mezzo-soprano, performed these sections with a dramatic intensity that honored the texts...The Salve Regina, in F minor, is darkly melancholy, with a lyrical undercurrent that Ms. Lane projected beautifully.” [Pergolesi Tricentennial, Sinfonia New York, Salon/Sanctuary Series]

Allan Kozinn, The New York Times, March 30, 2010


“….ebullient, aerated performances by vocal  soloists….Mezzo-soprano Jennifer Lane’s dusky timbre persuasively shaded her darker solos, underlining their anticipation  of late Mozart. Duets had ardor, warmth of rapport, and a blending of timbres that sustained long phrases with discreet expression.”  [Pergolesi, Stabat Mater, Baroque Band Chicago]

Alan G. Artner, The Chicago Tribune, January 11, 2010


"(Richard) Egarr had a superb, agile group of vocal soloists to work with…..mezzo-soprano Jennifer Lane, and he gave everyone the freedom in tempo to indulge in elaborate ornamentation."  [Handel, Theodora, San Diego Bach Collegium]                                      

Richard S. Ginell, The Los Angeles Times, June 29, 2009


"Mezzo-soprano Jennifer Lane conveyed the sympathetic nature of Theodora’s friend, Irene, and fearlessly tackled tricky coloratura flourishes." [Handel, Theodora, San Diego Bach Collegium, Richard Egarr]

Valerie Scher, San Diego News Network, 6/28/2009


"The rest of the soloists perform these (arias) with much Baroque skill and musical beauty.....Jennifer Lane, veteran mezzo, performs Irene, Theodora's confidant, in a mature voice of much skill, and great feeling."  [Handel, Theodora, San Diego Bach Collegium, Richard Egarr]                                       

George Weinberg-Harter,, June 28, 2009


"The American mezzo-soprano Jennifer Lane, a singer of great expertise, interpreted the role of Irene with a lovely burnished tone and commendable certainty." [Handel, Theodora, San Diego Bach Collegium], 6/27/2009


"Purcell conjured up beautiful heartache music for Dido, and Clarke pulled a rabbit out of his hat convincing mezzo-soprano Jennifer Lane to perform. Lane's voice has an exceptional strong dark quality, and she sings with clear tone and sophisticated phrasing. "When I am laid in earth," Dido's lament at losing her love, is one of Purcell's great creations, and Lane found all the tears in it, convincing us that one can surely die of a broken heart. Lane was equally adept with the music of the Sorceress, filling the church with wicked, frightening incantations…..

The big finish was supplied by Giovanni B. Ferrandini, whose "Il pianto di Maria" had until recently been attributed to Handel. Lane, Clarke and the band gave this splendid music full glory. Lane was bold when the music called for it but knew when to throttle things down. Her deep lower register had a burning intensity. The instrumentalists rose to the occasion and drew out the unusual dissonances we associate with more modern music. Applause was augmented with foot stomping, and I stopped counting the number of times Clarke and Lane returned to the stage to acknowledge the well-deserved appreciation of the audience." [The Baroque Band, Chicago]

M.I. Rantala, Hyde Park Herald, July 1, 2009


“(Chicago’s) Baroque Band did the honors...Jennifer Lane was in  the solo spotlight—actually on the small raised platform—for excerpts from Purcell’s Dido. For a singer with a background primarily in early music, Lane possesses an imposing mezzo instrument….rising to the expressive height of When I am Laid in Earth with refined eloquence. Lanes’s voice and temprament suited to the boldly Italianate passions of Ferrandini’s setting, the mezzo singing with big dusky tone and dramatic intensity..[The Baroque Band, Chicago]

Lawrence A. Johnson, Chicago Classical, June 4, 2009


“….Marcellina, able sung by Jennifer Lane. I’ve seldom heard a Marcellina as good as Lane; her voice is  pleasing on the ear and very supple, with a distinct timbre.” [Mozart, Le Nozze di Figaro, Palm Beach Opera]

Rex Hearn, Palm Beach Artspaper, March 2, 2009


“Mezzo-soprano Jennifer Lane as the ever determined, get-her-man Marcellina, was a comic tour de force. Her booming mezzo seemed somehow especially comic." [Mozart, Le Nozze di Figaro, Palm Beach Opera]

R. Spencer Butler, Palm  Beach Daily News, February 28, 2009


“Jennifer Lane was deliciously over the top as the Witch of Endor .” [Handel, Saul, Graeme Jenkins]

Scott Cantrell, The Dallas Morning News, February 6, 2009


"Carles Magraner reunited a cast of singers with proven Baroque experience, offering a version of great quality....In the roles of Messaggiera and Speranza, he has brought to the charge, Jennifer Lane, who sang with power, passion and sensitivity of interpretation. The production included her dramatic entrances and exits, announcing the death of Euridice, and  descending a high staircase to quide Orfeo through the gates of Hades.” [Monteverdi, Orfeo, Capella Ministrers, Castellón, Spain]                                      

Nihil Sub Sole Novum, December 4, 2008


“(Jennifer Lane presented) a unique melody of spoken word, fiery melody and sensuous drama” [El Mundo ¡Zarzuela y Opera!]. 

Andrew Druckenbrod, The Pittsburgh Post-Gazette, November 8, 2007                


“He (Rod Gilfrey) was ably matched by mezzo-soprano Jennifer Lane, whose performance as Charmian combined voluptuousness, vulnerability and rage in a potent blend.” [Libby Larsen, Everyman Jack, Sonoma City Opera]                               

Joshua Kosman, The San Francisco Chronicle, November 13, 2006


“…while Gilfrey unravels beneath London’s demons and despair, mezzo-soprano Jennifer Lane smolders as the sensual and selfish Charmian, especially in the aria, “What about me, Jack?” [Libby Larsen, Everyman Jack, Sonoma City Opera]

Diane Peterson, The Santa Rosa Press Democrat, November 16, 2006


“While the dancing was delightful, the singing was superb. Mezzo-soprano Jennifer Lane as Apollo performed coloratura arias with awesome technique and gorgeous tone. Costumed in satin breeches and a plumed headdress that made her look about 10 feet tall, she created a glowing god of music who dominated the stage.” [Handel, Terpsicore, Oberlin Baroque Performance Institute]                              

Wilma Salisbury, The Cleveland Plain Dealer, July 3, 2006


“Mezzo-soprano Jennifer Lane's plush, dark-hued voice usually cut through and it was beautiful singing.” [Mahler, Das Lied von der Erde, Vancouver Early Music Society & The Turning Point Ensemble]

Elissa Poole, The Vancouver Globe and Mail, May 20, 2006


“Jennifer Lane…is a mezzo-soprano, but her rich, roundly mature voice covered every inch of the range in the most operatic role that Brahms ever wrote. She surrounded every tone with a meaning that reached to its very depths.” [Brahms, Alto Rhapsody, Lexington Philharmonic]

Loren Tice, The Lexington Herald, March 25, 2006


“Both Jennifers (Lane and Ellis) are Baroque specialists who seamlessly shift into the more "popular" performance styles represented on this CD. Individually, they sing beautifully, and when they sing together, they discover a veritable "New World" of beauty.” [El Mundo, Villancicos de Navidad, KOCH KIC-CD-7654]

Robert Cummins, , January, 2006


“Marvelous leading vocal department…sumptuousness of vocal timbre…playfully interacting in a nearly stage-worthy operatic fashion…Ms. Lane, by the way, also plays the castanets…” [El Mundo, Villancicos y Cantadas, San Diego Early Music Society]                                                 

David Gregson, San, December 10, 2005


“And while  his  (Hercules’) is the central character, it is Dejanira—played by renowned mezzo-soprano Jennifer Lane—who shapes the dramatic course of the story. Lane’s towering, supple voice easily expresses the burning jealousy of her character while, at the same time, bathing the ear in pure wondrous sound.” [Handel Hercules, Blackfriars Playhouse, Staunton Music Festival]

Charles Culbertson, The Staunton News Leader, August 31, 2005


“Superb singing also dominates the new Schoenberg CD, which features the mezzo-soprano Jennifer Lane in performances of "The Book of the Hanging Gardens," with Mr. Oldfather as pianist, and of Schoenberg's luminous chamber orchestra arrangement of the "Song of the Wood Dove" from "Gurrelieder."…. Ms. Lane and Mr. Oldfather enliven the cycle, articulating the suppressed eroticism and anxiety of an affair that seems to go nowhere….Although you can also hear Ms. Lane's dramatic portrayal of the Wood Dove in Mr. Craft's complete recording of "Gurrelieder," you may very well prefer to hear the work's essence in this finely shaped aria.” [NAXOS 8.557520]

David Schiff, The New York Times, March 14, 2005


with an impressively solid cast and men’s chorus, Lazarev drew a gnawing theatricality from this concert performance.” [Stravinsky, Œdipus Rex, Royal Scottish National Orchestra]

Kenneth Walton, The Scotsman, March 7, 2005


a strong line-up of soloists” [Stravinsky, Œdipus Rex, Royal Scottish National Orchestra]

Conrad Wilson, The Glasgow Herald, March 7, 2005


“In the Philharmonia he [Robert Craft] has a very willing orchestra, the colours blazing with a searing intensity. The soloists in Oedipus Rex are, by and large, excellent, with a particularly fine Jocasta from Jennifer Lane, the bottom end of her voice so fruity and fulsome.” [Stravinsky, Œdipus Rex, NAXOS 8.557499]

David’s Review Corner, November 1, 2004


“Jennifer Lane’s sweetly mournful rendition of the Wood-Dove’s song…” [Schoenberg, Gurre-Lieder, NAXOS 8.557518-19

Victor Carr, Jr., Classics Today, 2004


“By a large margin this is the front runner in a most distinguished CD catalogue of Gurre-Lieders, the recorded sound nothing short of sensational in its impact and inner clarity…. with Jennifer Lane's message of the Wood Dove growing to an unbelievably impassioned final moment that really does create a shiver of excitement.” [Schoenberg, Gurre-Lieder, NAXOS 8.577518-19]

David’s Review Corner, November 1, 2004


 “The cantatas for solo voice also benefit from the quality of performance, in this case the beautifully substantial and resonant mezzo-soprano of Jennifer Lane. She responds eloquently to the text (the trials and triumphs of love — translation helpfully provided),…while the short movements and strikingly vivid recitative of the three Op. 3 works fuel an attractive momentum.” [Caldara, Cantatas, Gaudeamus CD GAU347] 

Clare Mackney, The Birmingham Post, May 15, 2004


“Spirited and stylish performances… a beautiful mezzo-soprano sound, flexible and expressive…Vicino a un rivoletto, whose arias require her [Jennifer Lane] to match firstly the obbligato violin’s imitations of gentle breezes and twittering birds, and then the cello’s heartbroken amorous yearnings, suits her well.  Here, as elsewhere, her deftly ornamented repeats in the da capo arias are a particular pleasure.” [Caldara, Cantatas, Gaudeamus]

Elizabeth Roche, The Daily Telegraph, April 10, 2004


“Robert Craft leads a thrilling performance of Œdipus Rex, incisive, swift, and as mercilessly inevitable as fate itself. Jennifer Lane's Jocasta sounds younger than, say, Jessye Norman's, and her lighter touch gets around the notes better than many a bigger, heavier voice....Moving on to the shorter works,.... Jennifer Lane's singing in the latter work (A Sermon, A Narrative, and A Prayer), leaves little to be desired.” [KOCH 3-7477-2 HI]

David Hurwitz, Classics Today, September 9, 2003


“The performances did more than due credit to the music. The motets were sung by Jennifer Lane with perfect balance and intonation and yet hearty tone. ”In a Garden So Green” was Jennifer Lane with David Tayler, playing theorbo. They have worked as a duo for some years, and here the clear, rich, plangent mezzo voice and the intimate accompaniment were too poignant for words.” [San Francisco Early Music Society]

Michelle Dulak, San Francisco Classical Voice, July, 2003


“The plot revolves around Phèdre's love for her stepson Hippolyte, who loves Aricie. There is tragedy (the suicide of Phèdre), but also nobility and warmth. Jennifer Lane's dark, lush mezzo and concern for every subtlety in the text enriched her portrayal of Phèdre…a sensitive and affecting performance that opened up a sunny window into the rarified world of 18th-century opera.” [Rameau, Hippolyte et Aricie, Les Violons de Lafayette]

Tim Smith, The Baltimore Sun, February 3, 2003


“Yet such was the prismatic variety of Rameau's musical invention -- and the sustained, luminous beauty of the performance-- that the time passed all too quickly. Indeed, I never wanted the afternoon to end.… a cast of singers deeply schooled in the French baroque….Jennifer Lane brought the grand, aching manner of a classic French tragédienne to the role of Phèdre.” [Rameau, Hippolyte et Aricie, Les Violons de Lafayette]

Tim Page, The Washington Post, February, 2, 2003


“Disc of the Month: The Pleasures and Follies of Love brings us the mezzo-soprano Jennifer Lane...The performers are, to the knowledgeable, the masters of their trade in our time. When such outstanding production meets equally outstanding musicians, the result should be no surprise. Such is the case here. With fine, expressive singing, this music is interpreted right on the mark. It is lively, thrilling, and fascinatingly performed.” [KOCH 3-7527-2 HI]     

Robert Strobl, Alte Musik Aktuell, August-September, 2002


“Jennifer Lane sang with agility and charisma…” [Purcell, The Faerie Queene, Philharmonia Baroque]

Eric Valliere, Andante, September, 2002


 “[Jennifer] Lane is an excellent Wood Dove, dramatic and expressive....I found it a more thrilling account than either of the rivals I have mentioned (Chailly, Rattle): more than either it carries something of the excitement of a live performance.” [Schoenberg, Gurre-Lieder, KOCH KIC-CD-7542]

Michael Oliver, Gramophone, July, 2002


Concinant linguæ (Cozzolani) is a richly expressive solo motet that makes fiendish demands on the singer.  On this recording, the consistently excellent alto Jennifer Lane, a singer whose dark, bottomless voice is matched by her expressiveness and intelligence, rises to the challenge.” [Cozzolani, Musica Omnia MO 0103]

Craig Zeichner, Early Music America, Summer 2002


“5.0 out of 5 stars….Glorious singing – a baroque masterpiece….Jennifer Lane, as Polinesso, provides a creepily assured villain, descending to the baritone depths with aplomb...Altogether this is a very classy set indeed. For me, it is the best available…” [Handel, Ariodante, harmonia mundi usa, HMU 907277]

Ed Beveridge, London, England, reviews, April 18, 2002


 “…engaging performances that are characterized by impeccable execution and rich expression. [Jennifer]  Lane displays fine vocal form, excelling in the poignant “Ergeuss dich zur Salbung” from Cantata 33…” [Telemann, Cantatas, DORIAN/93239]  

Jen-yen Chen, Early Music America, Spring 2002


“Jennifer Lane splendidly conveyed and conjoined the grief and the jubilation of "Es Ist Vollbracht..."” [Andrew Parrot, New York Collegium, St. John Passion]

Paul Griffiths, The New York Times, February 14, 2002


“Jennifer Lane delivers these texts with a mature grasp of their nuance....she commands a vast expressive range and sings with delightful agility; her voice has a coppery brilliance....this recording is a treat for mind and ear.” [The Pleasures and Follies of Love, KOCH 3-7527-2 HI]

Ellen Santaniello, Early Music America, Winter 2001-02

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