Jennifer France

Soprano

Jennifer France
REVIEWS

Kathleen Ferrier Awards 2014 / Wigmore Hall, London

"For me the evening’s outstanding singer was lyric soprano Jennifer France, 27, who tugged at the heartstrings in Tiny’s song from Britten’s Paul Bunyan and tossed off the coloratura nonsense of Strauss’ “Amor” with enchanting insouciance. She went away with the Song Prize, but was robbed of the crown."

The Telegraph

 

“This year it was easy. Of the six finalists, there were two very obvious candidates for the first prize at the 2014 Kathleen Ferrier Awards. Sarah Jane-Lewis (and) her polar opposite: the petite, sparkling coloratura soprano, Jennifer France. Also aged 27, she has already held audiences spellbound as Tytania, Blonde and Zerbinetta. Her programme of Donizetti, Strauss (a stellar Amor) and two welcome rarities, Julius Harrison’s Philomel and Britten’s Tiny’s Song, incarnated her diamantine soprano and her fine sense of style and idiom. Neither of these singers won…”

The Times

 

Marzelline: Fidelio / Garsington Opera at Wormsley

“Jennifer France (Marzelline) and Sam Furness (Jaquino) open the opera with spirited acting and singing. France’s bright, ringing soprano and indomitable personality make a particular impression.”

Bachtrack

 

“…sung delightfully by Jennifer France.”

Classical Source

 

“…with Jennifer France’s exquisitely-sung Marzelline dominating the first act.”

The Independent

 

“In the quartet, the singing of Jennifer France’s Marzelline led the ensemble unerringly to its climax.”

Opera

 

“…Jennifer France, whose tone, phrasing and vocal nuance were outstanding: surely a star in the making.”

Seen and Heard International

 

“Jennifer France’s Marzelline, however, is a treat. She sings her big aria with sweetness and expressivity, and her portrayal of the moment when the poor girl realises who Fidelio really is has a touching poignancy.”

The Times

 

“…Jennifer France was utterly enchanting: her bright, penetrating soprano is consistently appealing and packs enough punch to give Leonore a run for her money in the Act One ensembles.”

What’s On Stage

 

Héro: Béatrice et Bénédict / Royal Academy Opera

"...the stars of Jennifer France's Héro and Ross Ramgobin's Claudio shone brightly indeed, their lines both ardent yet elegantly shaped in fine Gallic fashion".

Seen and Heard

 

Debussy: Songs – Volume 3 / Hyperion CD

"Jennifer France negotiates the upper-altitude territory both with accuracy and with sensitivity to the songs' moods, with smoothness of line matching her subtlety of vocal inflection."

GRAMOPHONE

 

The Controller: Flight / Opera Holland Park

“France too is glossily secure, filling this tricky tented space with a pealing tone that matches the gilded brilliance of Dove’s writing for tuned percussion and brass.”

The Arts Desk

 

“Jennifer France made the Controller’s stratospheric coloratura sound easy, floating notes effortlessly to every corner of the Holland Park canopy. “

Bachtrack

 

“Jennifer France as the Controller, with her stratospheric soprano, and counter-tenor James Laing as the otherworldly Refugee are both excellent.”

The Financial Times

 

“…a bright shining star, soaring to the stratosphere with effortless ease and silvery, Sophie-like tones."

Opera

 

“Jennifer France sang with a crystalline beauty, able to float phrases despite the stratospheric tessitura. “

Opera Britannia

 

“…she brought a wonderful glitter and a superb evenness of tone to all the higher register in a role which has lots of long high lying lyrical phrases. But she also brought real sense of character too, especially in the Controller's Act 2 breakdown, and we left the opera at the end with a real sense of possibility of something between her and the Refugee.”

Opera Today

 

“The cast is so unwaveringly brilliant it’s almost unfair to single out Jennifer France’s Controller, who cruises effortlessly at superhuman altitudes, and James Laing’s Refugee, sung with vibrancy and resilience.”

The Stage

 

“Jennifer France moves cleanly and thrillingly above the stave as a celestial Air Traffic Controller…”

The Telegraph

 

"Funny and terribly sad, Flight closes as it begins, with our hearts held by the sheer, sweet, vertiginous sounds of (James) Laing and (Jennifer) France in companionable chastity."

The Times

 

“…a role in gold for the fabulous young soprano Jennifer France.”

What’s On Stage

 

Elgar: Une voix dans le desert / Hallé

“Jennifer France sang the role of the girl with the purity and strength tone heard before in her Royal Northern College and Opera North appearances.”

Manchester Evening News

 

Handel: Messiah / Chichester Singers

"Soprano Jennifer France's beautiful lyric voice made every word clearly audible, bringing deep conviction to every word. Outstanding and breathtaking was her solo, 'I know that my redeemer liveth'."

Chichester Observer

 

Dalinda: Ariodante / Scottish Opera

“Jennifer France is show-stealing as a limpid and graceful Dalinda.”

The Guardian

 

“…a glowing, intelligent Jennifer France (Dalinda), a star in the making.”

The Observer

 

"Jennifer France, a Scottish Opera ' emerging artist,' emerged with huge credit, presenting a Dalinda of fibre, natural conference and musical spirit."

Opera

 

“Jennifer France’s Dalinda is lustrous and delicately thrilling.”

The Scotsman

 

"The stand out performance, however, comes from Jennifer France, who sings Se tanto piace al cor exquisitely while shivering in sexual thrall to Polinesso."

The Times

 

Flavio: Il Vologeso / Classical Opera

“Fourth in a superbly contrasted line up of women's voices was Jennifer France, a lighter soprano than Summerfield but brilliant in her flights all the same; the orchestral support for her one number is one of the major delights of the score.“

The Arts Desk

 

“Jennifer France is a diamond of a soprano! She sang Flavio, the Roman ambassador who arrives with Lucilla and leads the revolt that ultimately forces Lucio to cede Berenice to Vologeso. She only gets one aria, “Crede sol che a nuovi ardori”, but grabbed the opportunity with both hands! A bright, alert presence, she surveyed the hall confidently during the orchestral introduction, then pinned us to our seats with gleaming tone, fabulous hairpin dynamics and a controlled trill – a showstopper!”

Bachtrack

 

“Jennifer France was mesmerising as Flavio, excelling in the complex aria ‘Crede sol che a nuovi ardori’…”

Music OMH

 

“The soprano Jennifer France sparkled in Flavio’s single aria.”

Opera

 

“…Jennifer France’s bright soprano shone as Roman Ambassador Flavio, who brings the Emperor to book.”

Sunday Express

 

Mahler: Symphony No. 8 / 2016 Three Choirs Festival

“Arguably most compelling of all, despite its brevity, Jennifer France’s exquisite manifestation of the Mater Gloriosa, high in the organ loft, momentarily brought the entire world to an astounded halt at the hypnotic purity and beauty of her voice.”

Bachtrack

 

"The remaining soloist, Jennifer France has the smallest role to sing but, my goodness it’s a crucial one – and horribly exposed. There was no better place to position her for Mater Gloriosa’s solo than atop the organ screen. From here she floated her phrases quite beautifully."

Seen and Heard International

 

Despina: Cosi Fan Tutte / Scottish Opera

"Jennifer France's Despina had bags of personality and projection..."

Opera

 

"Jennifer France as a gleeful, mischievous Despina is a joy, with a bright, clearly articulated soprano and some nicely persuasive acting too."

The Scotsman

 

“Jennifer France is a sassy Despina, rightly earning the most laughs.”

The Guardian

 

“All of the cast embrace the fun of the thing with verve and style but it is Jennifer France’s mischievous Despina that has the nod-and-wink approach to the melodrama down pat.”

The Herald

 

Lauretta: Gianni Schicchi / Opera North

“France's showstopping “O mio babbino caro” is gorgeous…”

The Arts Desk

 

“It is the aria most of the audience has been waiting for – “O mio babbino caro” – the one every lyric soprano worth her salt records sooner or later. Jennifer France delivers it exquisitely, her sweet voice moving some in the audience to tears.”

Bachtrack

 

“Jennifer France’s nicely judged performance of Lauretta’s famous aria is a predictable high point…”

The Guardian

 

“Her O mio babbino caro, which quite literally floored her father, Schicchi, hit the spot.”

The Observer

 

“Jennifer France who, left alone centre stage, delivers “O mio babbino caro” with a sweetness, sincerity and beguiling charm that made the eyes prick with tears…”

Opera Britannia

 

“Jennifer France sings “O mio babbino Caro” ravishingly…”

The Telegraph

 

“…beautifully sung by Jennifer France…”

The Times

 

Le Feu / Le Rossignol: L’enfant et les sortileges / BBC Symphony Orchestra

"…the metaphorical spotlight […] fell on […] Jennifer France, a fizzing Fire with a proper trill."

Opera

 

Esmeralda: The Bartered Bride / British Youth Opera

"…Jennifer France as Esmeralda combined pulchritude with a sly twinkle in her eye and a neat voice".

Musical Pointers

 

Adele: Die Fledermaus / Opera Holland Park

“There’s a superstar performance by young soprano Jennifer France as a naughty chambermaid. When this flighty chambermaid (in disguise) wants to punish her master for insulting her, she uses her knee to deliver a blow to a particularly soft part of his anatomy, while delivering perfect spit-spot coloratura. It’s a beguiling mixture of charm and brutality, and utterly hilarious.”

BLOUIN ARTINFO

 

“Jennifer France’s mischievous, adventurous Adele…sang with impeccable style and brilliance.”

Classical Source

 

“Jennifer France is a delightful Adele – her ‘Laughing Song’ rightly brought the house down the night I went.”

Daily Mail

 

"Jennifer France makes a terrifically uppity Adele with her blazing high notes and pin-prick staccatos"

The Guardian

 

“The excellent cast prove equally strong at singing and acting, and none more so than Jennifer France as Adele. In ‘Mein Herr Marquis’ she displays an exquisite sound as she literally runs rings around von Eisenstein…”

Music OMH

 

“Which brings me to a full measure of praise for the virtuosic assumption of Adele by Jennifer France. She was incredibly funny in the domestic scenes in the first act; a nice bit of direction has her in an adjoining bathroom to the Eisenstein’s bedroom during the trio ‘O Gott, wie rührt mich dies’, enjoying a cheeky cigarette before joining her employers next door. Her soprano simply dazzled in its agile upper register, her coloratura in the Laughing Song (‘Mein Herr Marquis’) nimble and bright. I would have been happy to have attended the performance purely to have heard her Adele."

Opera Britannia

 

"Rising almost unobtrusively over this fine ensemble was Jennifer France's Adele, an obvious star turn ill-suited to life as a chambermaid - and singing both her Laughing Song and Audition piece with an easy, show-stopping bravura. I haven't seen an Adele to match her since Watson at Covent Garden back in 1989."

Opera

 

"...as Jennifer France perched in Eisenstein’s bathroom excitedly poring over the invitation from her sister, Ida, to attend the Prince’s ball, it was clear that this was a chambermaid who knew her own mind and was going places. France negotiated the bravura coloratura with ease and the Act 2 ‘Mein Herr Marquis’ was a dramatic and musical delight..."

Opera Today

 

“Jennifer France managed the difficult task of really nailing the coloratura in her solos, notably in the Laughing Song, whilst keeping the music in character; for once the music felt all of a piece with the drama.”

Planet Hugill

 

“Jennifer France sings Adele with flair.”

The Stage

 

“…coloratura soprano Jennifer France is superb in her comic timing as a winning Adele.”

Sunday Express

 

“…in a stand out performance, Jennifer France's dispatch of her two soubrette showpiece arias was spot-on and dazzling."

The Telegraph

 

“…it’s Jennifer France’s pearly high notes as Adele that bring the most star power.”

The Times

 

"This is a sugar-sweet dragée with a dream at its heart. She's called Jennifer France. "When you see me play," sings cheeky Adele, " You will surely say ‘now there's a girl who will go far'". Well, I did, and I do. France is a coloratura soprano whose performance as Johann Strauss's go-getting chambermaid made this grown man cry. Moved by her vocal radiance, elated by her comic gifts and outraged at her neglect by major houses (yes, that old chestnut), I wanted to frogmarch her onto the world's stages and force them to take notice."

What’s On Stage

 

Jennifer France – new reviews under Adele / Die Fledermaus

 

Zerbinetta: Ariadne auf Naxos / Nederlandse Reisopera

“It was quite a coup for the Nederlandse Reisopera to cast Jennifer France in the role of Zerbinetta. Although not the title role, the correct casting of this role is essential to the success of the opera act of Ariadne auf Naxos. And what an aria! One that rivals in difficulty that of the Queen of Night’s ‘Der Hölle Rache.’ And it was fantastic to hear how France encompassed the notes seemingly effortlessly. Even before France had completed her aria, the audience had erupted into delirious applause.”

Friesch Dagblad

 

“The Nederlandse Reisopera presents the Zerbinetta of Jennifer France as an ostrich-feathered showgirl of dazzling, sparkling appearance, an exuberant contrast to the raven dark Ariadne. France mastered the role vocally.”

Leewarder Courant

 

"...the greatest achievement came from soprano Jennifer France (Zerbinetta), remaining a seductive actress even when singing the most difficult notes. A must hear, and also a must see."

NRC

 

"There is a brilliant performance from Jennifer France, who deserves a medal, as a Zerbinetta who flies high vocally and dramatically. Her physicality is ideal for this unrepentant lover so susceptible to temptation and she has ability, musicality and the necessary wide range. The theatrical skill she demonstrates in her great aria is worthy of the highest praise.'

Opéra Forum

 

"Jennifer France's coloratura "Großmächtige Prinzessin" proved an absolute showstopper. France could match up to Gruberova in her best years."

Opera Magazine of The Netherlands

 

Viennese Whirl / Orchestra of Opera North

“…soprano soloist Jennifer France who, seemingly, can do it all. Beguiling soubrette in Adele’s Laughing Song from Die Fledermaus, dramatic and muscular in Zeller’s Schenkt man sich Rosen, wonderfully controlled and meditative in Léhar’s Vilja, a Hollywood-style star in arias from Léhar’s Giuditta and Kálmán’s Kaiserin Josephine. In Richard Strauss’s fiendishly difficult song Amor her technique and dramatic delivery were stunningly unsurpassable.”

Huddersfield Daily Examiner

 

“The purity and agility of France’s voice was spectacularly displayed in the stratospheric runs and trills of Richard Strauss’ Amor (Cupid), a virtuosic showpiece for soprano.”

Ilkley Gazette



DISCOGRAPHY

Debussy Songs – Volume 3
Jonathan McGovern, Malcolm Martineau
Hyperion CD CDA 68016

Elgar Une voix dans le desert Joshua Ellicott
Hallé Orchestra / Sir Mark Elder
Hallé CD CDHLL 7544

AUDIO / VIDEO
Jennifer France sings “Amor” (R. Strauss)