Jennifer Casey Cabot Soprano Vocalist

Home     About     Teaching     Reviews     Repertoire     Calendar     Photo Gallery     Contact     Email

Recent Reviews

Peter Grimes, San Diego Opera

Jennifer Casey Cabot gives a performance of such luminous grace and vocal beauty that her soul remains visible to us when she leaves the stage. San Diego Union Tribune


Die Entfhrung aus dem Serail, National Symphony Orchestra

"A buoyant cast invested its full energy. Jennifer Casey Cabot broughther arresting, angelic tone to the part of Constanze, who courageouslyfends off the advances of the pining Pasha. Cabot's singing merged pathos and focus with a gleaming top range."  - Washington Post, January 27, 2006


Die Entfhrung aus dem Serail, Portland Opera

“Pride of place goes to Jennifer Casey Cabot, an outstanding Constanze. The demands of her bravura aria "Martern Aller Arten" ("Tortures of every kind") include declamatory phrases alternating with florid runs and a range from B below low C to D above high C. Rare is the artist who can nail this fearsome music without making Constanze seem fearsome, but Cabot does, projecting both strength and a conflicted humanity.” - The Oregonian, May 16, 2005


Cos fan tutte, San Diego Opera

“Cabot was a captivating Fiordiligi...she knew how to soar”. - Union-Tribune, February 21, 2005


Messiah, National Symphony Orchestra

“leading soprano Jennifer Casey Cabot has a bright, sweet voice, supple in all passages.” - The Washington Post, December 17, 2004


Don Giovanni, Cleveland Opera

“Jennifer Casey Cabot registers hilarious dismay as a driven Donna Elvira, torn between revenge and romantic resumption. Cabot's flexible soprano suits "Mi tradi" beautifully, and her theatrical intensity renders the character at once pathetic, admirable and amusing.” - The Plain Dealer, October 16, 2004

“Jennifer Casey Cabot, the Donna Elvira, was not a crazed woman chasing the Don but merely doting beyond reason. Cabot’s “Mi trad” was a highlight of the evening, its long melismas delivered effortlessly.” - Opera News, January 2005


Cos fan tutte, Boston Lyric Opera

"The best news was the caliber of the singers…Jennifer Casey Cabot (Fiordiligi) performed with panache and considerable maturity. Cabot handled the fiendish difficulty of "Come scoglio" with steely reserve, and she hit both the high and low notes dead on. She did not play it for laughs (although Dorabella, sitting beside her, pouted and moped). In Act II, "Per pieta" had a real inwardness, as though Fiordiligi were genuinely thinking things over." - Opera News, April 2004


Summer and Smoke, Central City Opera

“It would be virtually impossible to find a more suitable and better matched pair of singers in the lead roles than Jennifer Casey Cabot and John Hancock, who completely looked and sounded their parts. Both are terrific actors, who can communicate their character's weaknesses and still make them sympathetic. Cabot's contained yet still substantial soprano has just the right weight and timbre for Alma.” - Denver Post, July 16, 2002

“As Alma, Jennifer Casey Cabot was perfect - vocally, visually and dramatically. This is one tough role, but she seems born to play it. Simply brilliant.” - Rocky Mountain News, July 17, 2002

“It is hard to imagine a finer Alma than Cabot. Alma is in every way the equal of Blanche, the tragic central figure of "Streetcar," and both, of course, are deeply troubled incarnations of Williams himself. Cabot identifies totally with Alma and brings emotional force to her every word and gesture.” - The Daily Camera, July 15, 2002


La bohme, Calgary Opera

“Notable among these are Jennifer Casey Cabot (Mimi)…Cabot’s voice is pure and sweet, but she has the strength of tone for the big solo and duet passages where she must soar over the orchestra.” - Calgary Herald, March 11, 2002

Le nozze di Figaro, Washington Opera “Jennifer Casey Cabot's Countess (Rosina from "Barber," now older and sadly wiser) is graciously sung, with a brighter, more vibrant soprano than is usually brought to this role. Her willowy frame lends the character stature, and her youth and fresh-faced enthusiasm come a lot closer to Mozart's idea of the role than some of the absurdly geriatric casting that goes on these days.” - The Washington Post, March 12, 2001


Don Giovanni, San Diego Opera

“Jennifer Casey Cabot achieved moments of sparkling clarity as Donna Elvira – moments when she sang with beautifully focused authority.” - San Diego Union Tribune, April 3, 2000

“Jennifer Casey Cabot produces many gorgeously sung moments and a striking characterization.” - San Diego Times, April 3, 2000


Susannah, Kentucky Opera

“Vocally, Jennifer Casey Cabot was a lustrous Susannah, capturing the soaring lyricism of “Ain’t it a pretty night” and the exhausted resignation that drives “The trees on the mountains.” - Courier-Journal, February 7, 2000

The Pearl Fishers, Calgary Opera

“Jennifer Casey Cabot brought to her performance a sylph-like dramatic presence and a pure high lyric soprano, heard to wonderful effect in her arias and ensemble numbers. Musically and vocally in total command throughout the evening, she was as easy on the ears as she was on the eyes.” - Calgary Herald, October 18, 1999

Eric Hermannson’s Soul, Opera Omaha “Soprano Cabot gives tonal beauty, a lyric line and a finely controlled coloratura technique to the role of Margaret Elliot” - Des Moines Register, November 13, 1998

“The strong, expressive soprano delightfully captured Margaret’s flightiness and romantic nature… - Wall Street Journal, November 30, 1998


Jennifer Casey Cabot Soprano Vocalist