Press

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  15 Apr 18 MAHLER Das Lied von der Erde
  Laeiszhalle, Hamburg

  “Was dort fehlte, machte die Mezzosopranistin Jennifer Johnston in ihren drei Liedern wieder wett. Sie bekam und nahm sich mehr und mehr die nötigen Freiräume, um zu gestalten und nicht lediglich mitzuhalten. Mit den ins Verklingen gesungenen “Ewig … ewig …”-Worten im Finale von “Der Abschied”, umspielt vom Sternenstaub aus Celesta, Harfe und Streichern, löste dieser Abschluss ein, was dem Ende des Symphonie-Adagios nicht gelungen war.”
  Joachim Mischke, Abendblatt

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  11 Jan 18 WAGNER Das Rheingold
  Bayersiche Staatsoper

  “den fabelhaften Rheintöchtern (Christine Landshamer, Rachael Wilson und Jennifer Johnston) Hoffnung machte, den ihnen so entraubten goldenen Schatz zurückzuerhalten.”
  Norman Schwartze, Bachtrack

  “Auch die Damen konnten sich in dem Männer-dominierten Vorabend des Bühnenfestspiels sehen und hören lassen! Allen voran die leichtfüßigen und begehrenswerten Rheintöchter Christina Landshammer, Rachael Wilson und Jennifer Johnston, die so betörend sangen, dass man den armen Alberich in seiner Enttäuschung schon etwas verstehen konnte.”
  Gisela Schmöger, Online Merker

  “…the Rhine daughters were superb: Christina Landshamer (Woglinde), Rachel Wilson (Wellgunde) and Jennifer Johnston (Flosshilde).”
  José M. Irurzun, Seen and Heard International

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  26 May 17 MAHLER: Rückert-Lieder Royal Scottish National Orchstra
  Edinburgh/Glasgow

  “Mahler’s Rückert-Lieder brought a real discovery (for me) in the shape of mezzo Jennifer Johnston. Hers is an extraordinary voice, with a chest voice of arresting power that is reminiscent of a contralto. That strong centre to the voice gave her an almost declamatory air in ‘Um Mitternacht’, like an ancient prophetess, before a transcendent, triumphant ending as the singer places her trust in God. The RSNO brass crowned this moment, too, and the orchestra as a whole gave a folksy feel to ‘Liebst du um Schönheit’. ‘Ich bin der Welt’ was then beautifully controlled, allowed neither to wallow nor to lose focus.”
  Simon Thompson, Seen and Heard International

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  25 Apr 17 ADAMS Doctor Atomic
  Barbican, London

  “Dialogue is urgent and complex, offset by the expansive, impassioned outpourings of Kitty Oppenheimer and her Tewa Indian maid Pasqualita, sung in both instances with heartfelt grace by the soprano Julia Bullock and the mezzo-soprano Jennifer Johnston.”
  Fiona Maddocks, The Observer

  “In Act Two, the human response to the impending catastrophe has a numinous twist in the contralto range of Tewa Indian Pasqualita, a very specific role … The always impressive Jennifer Johnston had exactly the right timbre”
  David Nice, The Arts Desk

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  09 Feb 17 SCHUMANN Das Paradies und die Peri
  Accademia Santa Cecilia; Daniele Gatti

  “Il contralto Jennifer Johnston canta assai bene il ruolo dell’Angelo, ieratica e sicura
  negli acuti, come nel registro medio, conferendo agli interventi angelici
  particolare sacralità”
  L’Ape Musicale 

  ‘Gatti era sostenuto da una compagnia di canto di notevole livello: forza e dolcezza nelle voci di Angel Blue (Peri) e Jennifer Johnston (L’Angelo)’
  Sandro Cappelletto

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  29 Jan 17 ELGAR Sea Pictures
  Hamburg Symphoniker; Jeffrey Tate

  ‘Von ganz anderer kompositorischer Qualität war daraufhin der Liederzyklus „Sea Pictures op. 37“ von Edward Elgar, in dem die Orchesterregister als Begleitung zur wundervoll singenden Mezzosopranistin Jennifer Johnston viel besser aufgefächert wurden. Passend zu „Des Meeres Schlummerlied“ symbolisierten Harfenarpeggien die Gischt und in den Bläsern waren sowohl die Wellen als auch aufsteigende Luftbläschen aus der Tiefe des Ozeans zu hören. Johnstons glanzvoller, in der tiefen Lage sanft schimmernder Mezzosopran veredelte den „Sabbatmorgen auf dem Meer“ nach einem Gedicht von Elizabeth Barrett Browning, der sich plötzlich zu einem schwelgerischen Hymnus aufschwang und mit einem kraftvollen hohen Ton der Sängerin wahrlich heldinnenhaft beendet wurde. Jennifer Johnston überzeichnete nicht und setzte die richtigen Akzente in diesem von allerlei Klangfarbenzauber durchtränkten Werk, das im vierten Lied „Das Land, wo die Korallen blühen“ gar an Puccini erinnerte.’
  Helmut Peters, Die Welt

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  29 Nov 16 VAUGHAN WILLIAMS Discoveries
  CD review (Albion Records)

  ‘It’s excellent that Miss Johnston has been entrusted with the first recording of these songs because she does them really well.’
  ‘Jennifer Johnston is an excellent soloist. Her tone is very pleasing indeed and her diction is admirably clear. I think that she identifies very strongly with the songs.’
  John Quinn, Music Web International

  ‘..mezzo-soprano Jennifer Johnston is a skilled interpreter with a winning, well-controlled voice of attractive timbre allied to sensitive and expressive artistry.’
  James A. Altena, Fanfare Magazine

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  21 Oct 16 BACH Mass in B Minor
  BBC Singers & St James' Baroque Orchestra, Milton Court

  ‘Hurrell’s soprano dovetailed gracefully with Jennifer Johnston’s noble alto in their duets, and Johnston, a nimble Baroque stylist, wound the Mass down with her dignified ‘Agnus Dei’.’
  Peter Reed, Classical Source

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  27 Oct 16 BRITTEN A Child of Our Time
  Hallé Orhcestra, Bridgewater Hall

  ‘There was clear, well focused projection from mezzo-soprano Jennifer Johnston’
  Michael Cookson, Seen and Heard International

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  28 Oct 16 Stephen Hough & The Prince Consort
  Wigmore Hall

  ‘..mezzo-soprano Jennifer Johnston sang the work on this occasion, bringing a passionate warmth to the text.’
  Frances Wilson, Bachtrack

  ‘..the excellent Jennifer Johnston completely inside the music and singing with natural, anchored dignity. ‘
  Peter Reed, Classical Source

  ‘Jennifer Johnston brought deep tone to the Herbstlieder,’
  Richard Fairman, Financial Times 

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  07 Nov 16 Vaughan Williams Purer than Pearl
  CD review (Albion Records)

  Jennifer Johnston [is] on stellar form
  Andrew Achenbach, Gramophone

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  16 May 15 Batistelli CO2
  Teatro alla Scala

  ‘Der Auftritt der personifizierten Erde als Gaia, ein großer Monolog für Mezzosopranistin Jennifer Johnston, ist ein etwas moralinsaurer Apell. ‘
  Sabine Weber, BR Klassik

  ‘Jennifer Johnston è una convincente Gaia, dal timbro pastoso ed omogeneo in tutti i registri.’
  Ugo Malasoma, Operaclick

  ‘E non a caso il momento clou dell’opera è l’entrata in scena di lei, Gaia, l’impersonificazione del nostro amato pianeta (interpretata dalla sicura Jennifer Johnston). “Io do e gli uomini prendono, e bruciano e avvelenano e distruggono” urla contro l’uomo ormai in prossimità dell’epilogo. L’apocalisse non riguarderà, però, lei ma l’uomo: seguendo l’ipotesi “Gaia” di James Lovelock datata 1979, Gaia è viva e sa autoregolarsi. Il surriscaldamento globale ammazzerà noi, non lei.’
  Francesco Di Marco, http://www.cultweek.com/co2-scala/”>Cultweek

  ‘E vi sono pagine assai belle, che vanno da certe scene corali come la Creazione a una sorta di Cantata solistica nel grande stile che vede a protagonista Gea, la Terra (Jennifer Johnston, molto brava)’
  Paola Isotta, Cinquantamilla

  ‘La Gaia de Jennifer Johnston remporte les suffrages à l’applaudimètre, la mezzo-soprano usant avec délice de la rondeur de son timbre pour donner l’idée de la terre nourricière’
  Yannick Boussaert, Forum Opera

  “Jennifer Johnston, parvient à remettre un peu d’onirisme avant l’apocalypse’

  Vincent Guillemin, Alta Musica

  ‘la Gaia di Jennifer Johnston è energica e autorevole’
  Pietro Gandetto, L’ape Musicale

  ‘Brava, anche se dalle maggiori potenzialità, Jennifer Johnston, nel ruolo di Gaia.’
  Marco Nebuloni, Il Becco

  ‘Our heads were sent spinning through the sheer disconnected breadth and volume of the drama’s material, but Gaia’s descent from the gods focussed our perception to a pinpoint precision. Here, she is simultaneously the Greek personification of Earth and an exponent of physicist James Lovelock’s Gaia hypothesis – that our planet supports life only because it works as a self-regulating organism (in a complex process that we are in the process of unbalancing). “They have burnt my forests, flooded my plains,” shrieked Jennifer Johnston in what was the most striking performance of the evening’
  James Imam, Bachtrack

  ‘E vi sono pagine assai belle, che vanno da certe scene corali come la Creazione a una sorta di Cantata solistica nel grande stile che vede a protagonista Gaia, la Terra (Jennifer Johnston, molto brava).’
  Paola Isotta, Corriere Della Sera

  ‘di rara intensità Jennifer Johnston nel dispiegare il lamento della Madre Terra’
  Elvio Giudici, Il Giorno Milano

  ‘Wenn die aus der Versenkung auffahrende Göttin Gaia ihr großes, vom Trauerrand her sich eindunkelndes Mezzosopran-Lamento anstimmt (musikalisch in direkter Linie verwandt mit Erda und ausdrucksstark gesungen von Jennifer Johnston)’
  Eleonore Bruening, Frankfurter Allgemeine

  Gaia è affidata alla voce brunita e alla forte presenza di Jennifer Johnston, figura complementare al metereologo.
  Ilaria Bellini, Teatro

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  07 Feb 13 Beethoven Missa Solemnis
  ORR/Sir John Eliot Gardiner

  “Some of the most moving solo singing came from Jennifer Johnston, whose mezzo glows with unforced feeling and whose pure style fits well into the period-instrument world.”
  New York Times

  “Mezzo soprano Jennifer Johnston has a uniquely rich, low voice that was warm and pliant”
  Bachtrack

  “Johnston’s mezzo contributed both warmth and sombre darkness to the ensemble”
  The Times

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  06 Feb 13 Bach St. Matthew Passion
  Dallas Symphony Orchestra / Jaap Van Zweden

  “Alto Jennifer Johnston’s serene majestic sound and fine taste were in evidence all evening”
  Bachtrack

  “The standout soloist was alto Jennifer Johnston, with a hot-coals tone and elegantly expressive manner”
  Dallas Morning News

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  05 Feb 13 Mahler Second Symphony
  OSESP / Alondra de la Parra

  “The English contralto Jennifer Johnston gave an excellent vocal performance of the song ‘Urlicht’, unforgettable and beautiful from an interpretive point of view”
  Movimento

  “Jennifer Johnston was flawless and demonstrated admirable vocal power”
  Estadao

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  25 Apr 13 Stravinsky Oedipus Rex
  Barbican Centre, LSO, Sir John Eliot Gardiner

  Mezzo Jennifer Johnston was a powerful, graceful Jocasta with gorgeous tone and marvelous diction.
  Paul Kilbey for Bachtrack http://www.bachtrack.com/review-barbican-lso-gardiner-70th-stravinsky

  …and Jennifer Johnston (Jocasta) made superb, larger-than-life protagonists
  Michael Church for The Independent http://www.independent.co.uk/arts-entertainment/classical/reviews/barbican-review-lso-monteverdi-choir-john-eliot-gardiner-barbican-london-8589772.html

  At its best the result was electrifying, though of the  soloists only Jennifer Johnston as Jocasta sounded convincing.
  Barry Millington for London Evening Standard http://www.standard.co.uk/goingout/music/oedipus-rex-lsogardiner-barbican–music-review-8589956.html

  Jennifer Johnston was a formidable Jocasta, venomously spitting out her dismissal of the oracles while Gardiner thrillingly energised the cascading wind instruments beneath her
  Andrew Clements for The Guardian http://www.guardian.co.uk/music/2013/apr/26/lso-gardiner-review

  Jennifer Johnston was a formidable Jocasta
  Hilary Finch for The Times

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  26 Jul 13 Birtwistle Gawain
  Salzburger Festspiele

  “Jennifer Johnston beeindruckte als Lady de Hautdesert.”
  OÖN Nachrichten

  “no praise for the cast can be too high. Christopher Maltman is a powerfully questing Gawain, and John Tomlinson’s Green Knight is hardly less vivid than when he created the role. Laura Aikin’s Morgan Le Fay, Jennifer Johnston’s Lady de Hautdesert, Andrew Watts’s Bishop Baldwin and Jeffrey Lloyd-Robert’s wheelchair-bound Arthur are all outstanding.”
  John Allison, The Telegraph

  “Erstklassig auch die Sänger, an der Spitze Christopher Maltman (Gawain), Laura Aikin, John Tomlinson, Jennifer Johnston, …”
  Ursula Strohal, Tiroler Tageszeitung

  “Jennifer Johnston als Lady Hautedesert beeindruckte ebenso wie das Sängerensemble um König Arthur”
  Gerald Heidegger, ORF

  “The brilliant cast, convened at short notice when Gawain replaced an unfinished opera by György Kurtág, was led by Christopher Maltman in the title role, with John Tomlinson reprising the part of the mythical Green Knight. Both baritone and bass, each on peak form, are masters in the art of acting as well as singing. In the event this was more of a godsend than usual. The same was true for Lady de Hautdesert, sung with vivid lyricism by the rising-star British mezzo Jennifer Johnston.”
  Fiona Maddocks, The Guardian

  “Ihm sekundieren die Mezzosopranistin Jennifer Johnston als kundryhafte Verführerin Lady de Hautdesert”
  Christian Wildhagen, Frankfurter Allgemeine Zeitung 

  “Auf der Sängerseite besonders hervorzuheben: Christopher Maltman als Gawain, Laura Aikin als Morgan und Jennifer Johnston als Lady de Hautdesert.”
  Robert Jungwirth, BR Klassik

  “Lady Hautdesert, eine Art Kundry (Jennifer Johnston)”
  Elisabeth Schwind, Osnabrücker Zeitung

  “mit klarem, schlichten Mezzo: Jennifer Johnston”
  Badische Zeitung

  “Absolut ebenbürtig ist ihr in Letzterem Jennifer Johnston als dunkel lodernde Lady de Hautdesert, deren Verführungsversuche beim standhaften Gawain dennoch nicht fruchten.”
  OVB Online

  “Laura Aikin and Jennifer Johnston were excellent Morgan le Fay and Lady Hautdesert. The eroticism of the former’s performance grew as she and Johnston’s character grew apart, indeed transformed themselves from commentators into participants.”
  Mark Berry, Seen and Heard International 

  “This is the best line-up of the Salzburg Festival so far […] Jennifer Johnston, Jeffrey Lloyd-Roberts and Andrew Watts are luxury choices for the parts of Lady de Hautdesert, King Arthur and Bishop Baldwin; vocally, the evening leaves nothing to be desired.”
  Shirley Apthorp, The Financial Times

  “Gawain emerges as a modern Parsifal, the Green Knight (John Tomlinson, as potent as ever in the role he created 22 years ago) his Gurnemanz, and Morgan Le Fay (the dazzling Laura Aikin) and Lady de Hautdesert (the lush-voiced Jennifer Johnston) seem more than ever like Birtwistle’s schizophrenic Kundry, literally split into two characters”
  Hugh Canning, The Sunday Times

  “Lady de Hautdesert wird von Jennifer Johnston mit gefühlvollem Mezzo gesungen”
  Friedeon Rosén, Der Neue Merker

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  11 Aug 13 Beethoven Prom 38: Ninth Symphony
  Royal Albert Hall

  “and a fine solo quartet (Ailish Tynan, Jennifer Johnston, Toby Spence and Gerald Finley). The result was thrilling.”
  Hugo Shirley, The Telegraph

  “The massed choirs more than matched the world-class quartet of soloists”
  Nick Kimberley, The Evening Standard

  “The soloists, ranked behind the orchestra, were excellent, with Jennifer Johnston and Ailish Tynan in fine voice, and Gerald Finley and Toby Spence both clear and light-toned but still able to penetrate.”
  Guy Dammann, The Guardian

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  04 Sep 13 Vaughan Williams Four Last Songs
  Royal Albert Hall

  “Jennifer Johnston, the mezzo soloist in Anthony Payne’s delicate Vaughan Williams orchestration, also sang from the heart – but had taken the trouble to learn the words, projecting them with a quiet radiance that commanded attention. With a noble timbre reminiscent of Janet Baker, she found an unexpected kinship between these modest songs and Elgar’s Sea Pictures.”
  The Financial Times

  “Between all these sorrowful songs, some autumnal ones. Anthony Payne has newly
  orchestrated Four Last Songs by Vaughan Williams, beautifully evoking
  RVW’s own mellow colours. The songs, to poems by Vaughan Williams’s wife
  Ursula, aren’t vintage, but appealing enough as delivered by the plangent
  young mezzo Jennifer Johnston.”
  The Times 

  “Jennifer Johnston, another fine New Generation Artist, let the songs
  soar with a radiance associated with another set of Four Last Songs. Her
  voice combines ecstatic range with an affecting contralto weight, and
  her stage presence, like Ruby Hughes’s, was compelling.”
  http://classicalsource.com/db_control/db_prom_review.php?id=11342″>Classical Source

  “Between the two symphonies, Jennifer Johnston gave a powerful reading of Vaughan Williams’s Four Last Songs.”
  London Evening Standard

  “The mezzo Jennifer Johnston sang them with an authentic sense of potent wonder that was even more striking when revisited on the iPlayer afterwards.”
  The Guardian http://www.theguardian.com/music/2013/sep/05/prom-71-bbcso-vanska-review

  “I do hope that this arrangement is
  recorded in the future with Jennifer Johnston at the forefront: she sang
  the set both beautifully and with refinement.”
  http://www.bachtrack.com/review-bbc-prom-71-2013-so-vanska-gorecki”>Bachtrack

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  21 Nov 13 Ludwig Thuille: Songs
  Champs Hill

  “Impeccably sung, with great warmth of tone, by Jennifer Johnston”
  Tim Ashley, The Guardian

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  07 Apr 14 Stravinsky Oedipus Rex
  LSO Live label

  “Jennifer Johnston’s lush-toned Jocasta and the men of Gardiner’s Monteverdians excel”
  Hugh Canning, The Sunday Times

  “Dank der eindringlichen Figurenzeichnung der Mezzosopranistin Jennifer Johnston als Jocaste und des Tenors Stuart Skelton als Oedipus geht die rhythmisch prägnante, dissonanzenreiche Musik auch diesmal unter die Haut des gebannten Hörers: nicht nur dort, wo sie rituell anmutet.”
  Volkmar Fischer, BR Klassik 

  “Johnston’s superb interpretation lifts the whole performance up a couple of notches…But John Eliot Gardiner’s conducting somehow misses the work’s elusive power.”
  BBC Music Magazine-June 2014

  “English mezzo Jennifer Johnston shows the same virtuosity. In Jocasta’s plea to the argumentative menfolk, she emerges from lavish sweeps of harp and piano to work through a brilliant catalogue, with winks at composers from Verdi to Offenbach.”
  NZ Herald

  “Johnston takes Jocasta’s elaborate coloratura full tilt, bringing her aria off with great aplomb, but also responds gently to her unexpected marking tranquillo at ‘Ne probentur’.”
  John Warrack for Gramophone

  “Among the excellent soloists are the tenor Stuart Skelton as Oedipus and the mezzo-soprano Jennifer Johnston as Jocasta.”
  Anthony Tommasini, The New York Times 

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  22 Apr 14 Bach St Matthew's Passion
  Hong Kong Philharmonic

  “Alto aria Erbarme Dich (“have mercy”) was the highlight of the night for me. Jennifer Johnston, alto, sang eloquently…”
  South China Morning Post

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  16 May 14 Harrison Birtwistle Gawain
  Barbican

  “Laura Aikin (Morgan Le Fay), and Jennifer Johnston (Lady de Hautdesert) were impressively undaunted by the difficult score”
  Kimon Daltas, The Arts Desk

  “Laura Aikin was a superb Morgan Le Fay, beguiling and effortlessly lyrical, matched by the shadowy voluptuousness of Jennifer Johnston as Lady de Hautdesert.”
  Nick Breckenfield, Classicalsource

  “From Jennifer Johnston’s enigmatic, elegant Lady de Hautdesert…the women were outstanding.”
  Anna Picard, The Times

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  28 Jun 14 Rossini Guillaume Tell
  Bayerische Staatsoper

  “Auch alle kleineren Partien sind festspielwürdig besetzt: Allen voran die Hedwige, Gattin Tells mit Mezzosopran Jennifer Johnston.”
  Die Deutsche Buehne

  “Eine Wucht: Jennifer Johnston”
  Monika Beer, InFranken.de

  “en Jennifer Johnston greep haar korte optreden als Guillaume Tells vrouw Hedwige aan om een blijvende indruk achter te laten.”
  Mordechai Aranowicz, Opera Magazine Nl

  “Jennifer Johnston gefällt als Hedwige mit warmem Mezzo ”
  Thomas Molke, Omm.de 

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  28 Jul 14 Three Choirs Festival Mahler – Symphony No 2 in C minor, ‘Resurection’
  Worcester Cathedral

  “The two soloists were seated in the front row of the choir meaning that Jennifer Johnston had to project ‘Urlicht’ right over the orchestra and down the nave. This proved no problem at all and her voice carried clearly and truly even when she was singing particularly softly. Miss Johnston sang from memory and delivered the music with sensitivity and expression, her tone lustrous and the words clear. This was a very fine performance.”
  John Quinn, Seen and Heard International

  “The fourth movement – “Urlicht” (Primeval Light) – signalled a change of mood, Jennifer Johnston instantly transforming the intense drama to a subdued melancholy with the most hauntingly beautiful voice. Johnston’s performance was refined and graceful, employing a controlled use of vibrato that wasn’t at all overpowering. Her beautiful tone was equally matched by the oboe that echoed her controlled expression.”
  Holly Harrison, http://bachtrack.com/review-three-choirs-philharmonia-worcester-july-2014″>BachTrack

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  26 Aug 14 Beethoven Missa Solemnis
  Royal Albert Hall

  “four excellent soloists (Lucy Crowe, Jennifer Johnston, Michael Spyres, Matthew Rose) also tackled Beethoven’s stupendous demands with spine-tingling assurance.”
  Richard Morrison, The Times

  “the rich tones of mezzo Jennifer Johnston impressed”
  David Fay for http://bachtrack.com/review-prom-54-gardiner-missa-solemnis-august-2014″>Bachtrack

  “It certainly helped that the soloists – Lucy Crowe, Jennifer Johnston, Michael Spyres, and Matthew Rose – constituted a dream team”
  Michael Church, The Independant

  “He is as unfair to the chorus as he is generous to the soloists, giving them his most passionately creative vocal writing, wonderfully realised by soprano Lucy Crowe, mezzo Jennifer Johnston, tenor Michael Spyres and bass Matthew Rose. Throughout, the band amazed in all its raw-edged immediacy”
  Stephen Pritchard, The Guardian 

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  24 Oct 14 Berg Wozzeck
  City Halls, Glasgow

  “Rumour has it that Runnicles was delighted to secure his replacement Wozzeck – together with Marie he led a stellar cast that also included Tom Randle, Michael Pflumm, and Jennifer Johnston. ”
  Christopher Lambton, http://www.theartsdesk.com/print/74175″>The Arts Desk

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  28 Oct 14 Michael Tippett A Child of Our Time
  Barbican Centre, London

  “The singing was magnificent, with four soloists of great sophistication and gravitas, Erica Eloff, Jennifer Johnston, Andrew Staples and Ashley Riches, but how shaming that Tippett’s laments of poverty and oppression still burn so brightly.”
  The Times

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  26 Jan 15 Thuille Ludwig Thuille Songs
  Champs Hill Recordings

  ‘Johnston proves the more persuasive interpreter, offering a rich, powerful mezzo and a natural responsiveness to the text in her performances of what, by and large, seem the better songs – her solo ‘Waldeinsamkeit’ is a highlight.’
  Harriet Smith, Gramophone

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  29 Jul 15 Beethoven Missa Solemnis
  Three Choirs Festival, Hereford Cathedral

  ‘Equally impressive was mezzo Jennifer Johnston. I was looking forward to hearing her because she’d been one of the excellent solo team in the live 2012 recording by Sir John Eliot Gardiner (review). I was not disappointed. Miss Johnston has a full, rich tone that falls very pleasingly on the ear. Tonight she showed that she has all the necessary vocal heft for this role but never once did she compromise the quality of her tone when singing out. She proved particularly expressive in the Agnus Dei – where all the quartet made fine contributions – offering deeply felt singing and lustrous tone.’
  John Quinn. Seen and Heard International http://seenandheard-international.com/2015/07/beethoven-storms-the-heavens-in-hereford/?doing_wp_cron=1438594696.3863990306854248046875

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  01 Aug 15 BBC Proms 1 August 2015
  Royal Albert Hall

  ‘….the sizeable forces of the Orfeón Pamplonés provided a solid choral underpinning to the well-matched quartet of soloists – soprano Luba Orgonášová, mezzo Jennifer Johnston, tenor Robert Dean Smith and bass-baritone Derek Welton – to rise above, in an interpretation whose stature increased as it proceeded.’
  George Hall, The Guardian http://www.theguardian.com/music/2015/aug/03/bbc-philharmonic-mena-prom20-review

  ‘…Jennifer Johnston shone in her brief contribution.’
  Richard Whitehouse, Classical Source http://www.classicalsource.com/db_control/db_prom_review.php?id=13012

  ‘The soloists included…..the powerful, magnificently resonant mezzo of Jennifer Johnston.’
  Colin Clarke, Seen and Heard http://seenandheard-international.com/2015/08/an-impressive-new-score-by-luke-bedford-unveiled-at-the-proms/?doing_wp_cron=1438784706.9432818889617919921875

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  01 Oct 15 Berio RLPO: Songs from Distant Lands
  RLPO, Liverpool Philharmonic Hall
  Equally accomplished was Luciano Berio’s collection of Folk Songs, drawn together originally for his mezzo wife Cathy Berberian, but sung here with and vocal dexterity by Liverpool-born Jennifer Johnston…The variety within the 11 songs, drawn from the US, Europe and the Caucuses, stretched her to the extremities of her range, from a lovely chocolatey contralto, through mellow mezzo to muscular, soaring soprano.

  Catherine Jones, Liverpool Echo http://www.liverpoolecho.co.uk/whats-on/arts-culture-news/review-rlpo-songs-distant-lands-10177627

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  19 Oct 15 Mahler Symphony No. 3, Cleveland Orchestra
  Philharmonie de Paris

  ‘Ajoutons les couleurs chaudes et le timbre éloquent de Jennifer Johnston dans « O Mensch ! », la conduite de la voix épousant harmonieusement, et tout aussi posément, celle de l’orchestre.’
  Rémy Louis, Diapason  http://www.diapasonmag.fr/actualites/critiques/philharmonie-de-paris-franz-welser-most-dirige-une-3e-symphonie-de-mahler-anthologique

  ‘Jennifer Johnston prête son phrasé et la beauté intrinsèque d’un timbre soyeux et opulent au texte de Nietzsche. Les premiers « O mensch » résonnent tristes dans l’acoustique réverbérée de la grande salle de la Philharmonie. Un lamento, plus qu’une méditation dans ce quatrième mouvement, qui, grâce à la britannique, atteint enfin la profondeur que l’on cherchait en vain jusqu’à cet instant. D’autant que l’attention portée aux mots et la langue allemande est remarquable.’
  Yannick Boussaert, Forum Opera http://www.forumopera.com/symphonie-ndeg3-g-mahler-paris-philharmonie-mahler-lenteurs-et-langueurs

  ‘Cependant, le moment le plus magique et bouleversant de la soirée, on le doit bien à la mezzo britannique Jennifer Johnston qui offre au public le plus beau « O Mensch ! » que l’on ait pu entendre : la tenue de la voix, la couleur du timbre, l’intelligence du phrasé, la pureté du grave, et surtout l’ineffable émotion qu’elle parvient à distiller par son chant, le public présent s’en souviendra longtemps comme un pur moment d’éternité…’
  Emmanuel Andrieu, Classique News http://www.classiquenews.com/compte-rendu-concert-paris-philharmonie-le-19-octobre-2015-mahler-symphonie-n3-the-cleveland-orchestra-jennifer-johnston-mezzo-franz-welser-most-direction/

• More info  
  10 Dec 15 Bach Christmas Oratorio
  BBC SSO, Glasgow City Hall

  ‘A team of soloists frankly to die for…the great Jennifer Johnston’s ultra-creamy, dark-chocolate alto melting hearts to the right and left…’
  Michael Tumelty, Herald Scotland http://m.heraldscotland.com/arts_ents/14142910.BBC_SSO__Christmas_Oratorio__City_Hall__Glasgow/?ref=rss

  ‘the burnished silkiness of mezzo Jennifer Johnston.’
  David Kettle, The Scotsman http://www.scotsman.com/lifestyle/culture/music/classical-review-bbc-sso-david-hill-city-halls-glasgow-1-3974218

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  22 Jan 16 Mozart Mozart Requiem 22 January 2016
  BBC National Orchestra of Wales, St David's Hall

  ‘Last but not least came Mozart’s Requiem in the completion by Süssmayr, boasting a quartet of soloists – Rebecca Evans, Jennifer Johnston, Timothy Robinson and Alastair Miles – who could hardly have been bettered, and the BBCNOW’s fine chorus.’
  Rian Evans, The Guardian http://www.theguardian.com/music/2016/jan/24/bbc-now-thomas-sondergard-review-cardiff?CMP=twt_a-music_b-gdnclassical

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  20 Mar 16 Bach St Matthew Passion 20 March 2016
  Royal Festival Hall

  ‘…the pick of the soloists was mezzo Jennifer Johnston, ideally expressive, especially in “Have mercy, Lord, on me” (as “Erbarme dich” is here rendered), and technically faultless, with ideal projection and tonal control.
  Gavin Dixon, The Arts Desk http://www.theartsdesk.com/classical-music/st-matthew-passion-bach-choir-florilegium-hill-rfh

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  10 Jun 16 Mozart Mozart Requiem, Royal Northern Sinfonia
  The Sage, Gateshead

  ‘…the richness of Jennifer Johnston was, as always, a joy to listen to.’
  Jane Shuttleworth, Bachtrack https://bachtrack.com/review-sibelius-mozart-vogt-royal-northern-sinfonia-gateshead-june-2016

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  04 Jun 16 Stravinksy Oedipus Rex
  Berlin Philharmonie

  ‘Dopo i corretti, sobri ed efficaci interventi del basso-baritono Ashley Riches, umbratile Creonte, e del basso Gianluca Buratto, severo Tiresia, è la volta di Jennifer Johnston, Giocasta. La cantante, molto attiva anche nel repertorio wagneriano, controlla la potenza del suo mezzo vocale e lo sfrutta per costruire una figura indimenticabile; padrone di un ottimo registro centrale, questo mezzosoprano sa esprimere tutta l’ostinazione di chi si rifiuta d’accettare la realtà, fin quando comprende d’esserne complice e scompare per sempre; sia durante l’aria di sortita, sia nel duetto con Èdipo ci è sembrato ben difficile desiderare di meglio.’
  Vittorio Mascherpa, Operaclick

  ‘Ausdrucksstark, mit voluminöser aber nie wagnerianisch heillos überkochender Kraft ihres in Höhe und Tiefe ausgewogen reichen Mezzos gestaltete Jennifer Johnston ihre Auftritte als Oedipus’ ungläubige Mutter und Frau Iokaste, sowohl im Solo mit folgendem Orff’schem Oracula-Sprech als auch im Duett.’
  Jens Klier, Bachtrack https://bachtrack.com/kritik-berliner-philharmoniker-gardiner-johnston-staples-ganz-ashworth-buratto-treseder-berlin-juni-2016

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  15 Aug 16 Richard Strauss Die Liebe der Danae
  Salzburg Festival

  ‘…parmi les quatre reines, la très belle performance de Jennifer Johnston en Leda.’
  Claude Jottrand, Forumopera http://www.forumopera.com/die-liebe-der-danae-salzbourg-tout-lor-du-monde-sur-la-scene-du-festspielhaus

  ‘Mária Celeng, Olga Bezemertna, Michaela Selinger, and Jennifer Johnston worked so well together, both individual of voice and indeed of character, and yet also cohesive as a vocal quartet, that I longed to hear more from them: a spin-off, please.’
  Mark Berry, Seen and Heard International http://seenandheard-international.com/2016/08/fine-singing-in-atrocious-production-of-die-liebe-der-danae/

  ‘Auch Regine Hangler (Xanthe) und Mária Celeng, Olga Bezsmertna, Michaela Selinger und Jennifer Johnston als Jupiters Exgeliebte Semele, Europa, Alkmene und Leda glänzen in der Luxusbesetzung.’
  Die Deutsche Buehne http://www.die-deutsche-buehne.de/Kritiken/Musiktheater/Richard+Strauss/Die+Liebe+der+Danae

  ”….Jennifer Johnston, crystal-clear of diction and with all the stonking low notes Leda needs.’
  David Nice, The Arts Desk http://www.theartsdesk.com/opera/exterminating-angel-die-liebe-der-danae-salzburg-festival

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  23 Sep 16 Verdi Requiem
  Orchestre National de Lyon

  ‘la mezzo Jennifer Johnston est admirable dans le « Liber scriptus ». La texture de sa voix, souple, chaleureuse et sans affectation, magnifie sa diction, et convient au mieux à la sobriété d’un requiem.’
  Joseph Thirouin, Res Musica http://www.resmusica.com/2016/09/27/le-requiem-de-verdi-a-lyon-des-limbes-au-paradis/

  ‘Le timbre suave du mezzo-soprano britannique enchante dans ce Recordare comme dans toutes ses parties de soliste : elle aussi maîtrise le grandiose et la délicatesse!’
  Beate Langenbruch, Bachtrack https://bachtrack.com/fr_FR/critique-verdi-requiem-slatkin-wilson-johnston-chung-platt-orchestre-national-lyon-auditorium-septembre-2016

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  21 Oct 16 Remembrance
  Harmonia Mundi

  ‘Jennifer Johnston, who sings for Graham Ross, is very much to my taste. I think the degree of expressiveness she brings to this lovely solo is just right, as is the extent to which she deploys vibrato. She makes the climax of the movement fervent without any suggestion of excess.’
  John Quinn, MusicWeb International http://www.musicweb-international.com/classrev/2016/Oct/Remembrance_HMU907654.htm

  ‘….mezzo Jennifer Johnston’s ‘Pie Jesu’ is, in particular, an emotional tour de force.’
  Malcolm Hayes, BBC Music Magazine http://www.askonasholt.co.uk/uploads/files/2016/11/24/JJ_Remembrance_review.JPG

  ‘..Jennifer Johnston’s Pie Jesu is a model of emotive austerity, keeping vibrato to a minimum and letting Duruflé’s melody do the work.’
  Alexandra Coghlan, Gramophone http://www.askonasholt.co.uk/uploads/files/2016/12/15/jj_remembrance.pdf