Critical Acclaim

Lady Macbeth - Macbeth - Act 1

Lady Macbeth in Macbeth

“Fortified by North American regional successes as Norma, and noticeably slimmed down, the Met’s long-time Clotilde, Jennifer Check, here took on Lady Macbeth. Her voice, perhaps essentially to attractive but capable of adding timbral steel, showed considerable flexibility and a wide dynamic span. Check and Martinoty stressed (via verbal inflection and stance) her sensual hold over her vacillating husband.”

OPERA

Leonora in Il Trovatore

“Soprano Jennifer Check, as the stalwart noblewoman Leonora… her declaration of love for the Gypsy troubadour Manrico in the last act was a knockout.”

The Salt Lake Tribune

Aida

“In the title role, Met soprano Jennifer Check, who has performed in previous BOW productions, showed that her fabulous voice and acting talent have gained maturity and depth in the past couple of years. Her portrayal of the Ethiopian slave torn between her patriotism and her love for the Egyptian general Radames (Noah Stewart) was overwhelming, and in her final duet with Stewart her face took on an otherworldly radiance as her voice soared and faded. Somebody please give this woman a leading role at the Met; her time has come.”

–Susan L. Peña, The Reading Eagle Press

Lady Billows - Albert Herring - Castleton FestivalLady Billows in Albert Herring

“But the best performance of all was turned in by soprano Jennifer Check as the insufferable Lady Billows. Her haughty imperiousness drove the satirical tempo of the show. And her enormous yet craftily contoured voice – nearly Wagnerian in force – was well-suited to the part of a small town’s grande dame and Benjamin Britten’s perfect moral foil.”

T.L. Ponick, The Washington Times

“Leading the cast was the established young soprano Jennifer Check, whose big voice and big stage presence (she is becoming a natural ham) made much of the role of the local dignitary, Lady Billows.”

Anne Midgette, The Washington Post

Leonora_Trovatore---Act-2-cropÉlisabeth in Don Carlos

“The soprano Jennifer Check sang the part of Élisabeth with touching dignity and drew on great vocal reserves that allowed her character to grow in moral and vocal stature in the course of the opera.”

–Corinna da Fonseca-Wollheim, The New York Times

“Since her debut as Clotilde at the Met at the 2001 premiere of the much-unloved John Copley production of Bellini’s Norma, soprano Jennifer Check has more often than not been heard rather than seen in Verdi there, singing Aïda’s Priestess 47 times and Don Carlo’s Celestial Voices 25. Her Caramoor Élisabeth suggested that the Met might do well to put her on stage instead. Hers was a secure and grandly sung portrayal rising to a really superb final “Toi qui sur le néant.”

–Parterre Box

“In recent years, the roles of Élisabeth de Valois and Rodrigue have been cast too often with overparted Mimis and Count Almavivas. Crutchfield tapped two inexplicably neglected large-voiced American singers — Jennifer Check and Stephen Powell. Both have only sung comprimario roles at the Met. Check was the Celestial Voice in last season’s Met “Don Carlo,” and here she easily outsang her erstwhile Met Elisabetta, revealing a warm, gleaming soprano of easy expansion. A rim of steel on a few high phrases suggests a voice more suited to Wagner and Strauss.”

–Eli Jacobson, Gay City News

Almera in Dark Sisters

“Absolutely astounding is Jennifer Check (Almera)… who sails up to a substantial, gorgeously voiced high D, then embraces her softer passages with equal artistry, Check possesses eloquence and an assurance that stand out among singers who regularly appear in major houses.”

–Jason Victor Serinus, San Francisco Classical Voice

“The estimable Jennifer Check played Almera, who relates how her mother prayed for death — not just her own, but her daughter’s — as a release from the repressive plural-marriage system. In Check’s performance, one could discern the character’s clear-eyed apprehension of her fate and her passive acquiescence to it.”

Opera News

Verdi’s Requiem

“Soprano Jennifer Check caressed our ears at every turn with a creamy, yet potent instrument that never went shrill or edgy, even in her most dramatic passages. All of them put their hearts and souls into their singing, negotiating the music’s huge expanses of both human and spiritual emotions with gripping conviction.”

–Lindsay Koob, Charleston City Paper

“The bright bel canto voice of soprano Jennifer Check, a Westminster Choir alumna, soared easily into the stratosphere. She showed an uncanny ability to sing those high notes with subdued grace…The Requiem is a work of extremes, alternating between blaring brass and bass drum thwacks and the tranquility of simple prayer. The ‘Agnus Dei,’ an a cappella section featuring Check, Lattimore and chorus, reminiscent of an old chant, was especially lovely. The quietude reaches its apex with the ‘Requiem aeternam’ portion of the ‘Libera me’ section. It features one of the greatest moments for soprano in all of the classical music literature, a simple B-flat octave leap sung extremely softly that, when executed well, lifts everyone in earshot directly to heaven itself. Check, with her incandescent voice, nailed it.”

–Adam Parker, The Post and Courier

“Jennifer Check was a stirring soprano soloist, bringing the work’s inherent drama to the fore.

The New York Times

“And the very strong link was the soprano Jennifer Check. I’ve heard Check a number of times in the past — an alumna of the Metropolitan Opera’s Lindemann young-artist program, she already has an active career around the United States — and I was pleased with her here all over again. What’s so wonderful about her singing is its freshness; she has a sizable voice, but she doesn’t push it or try to make it sound like anything but herself. It’s not exactly a Verdian voice — which one thinks of as a richer, thicker sound — but it’s big enough to sing Verdi, and it has technique to burn. From shining, floating top notes, Check dug down into rich chest tones with abandon for the final words, ‘Libera me.’ You couldn’t have asked for a better conclusion.”

–Anne Midgette, The Washington Post