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Jennifer Ellis Kampani: Reviews

ARS MINERVA- La Cleopatra

"Jennifer Ellis Kampani sang Coriaspe with sumptuous tones and iridescent waves of musical color. Hers is a voice from which I hope to hear a great deal more."

VOICES OF MUSIC- Steffani Stabat Mater


"It also included Monteverdi’s sensual madrigal Con che soavità, sung with great intensity by soprano Kampani."

ARS MINERVA- La Cleopatra


"Jennifer Ellis Kampani a spirited Coriaspe and one of my favorites in the cast."

Lisa Hirsch - Iron Tongue (Mar 17, 2015)
"Shameless Commerce"- Hesperus, Early Music Now

"I was most taken with soprano Jennifer Ellis Kampani, whose clear, focused voice has the bite and carrying quality of an operatic soubrette..."
Byrick Walters - Shepherd Express, Milwaukee (Mar 11, 2008)
"Handel's in a Rage"- Baroque Band

For “Tu fedel, tu costante” Jennifer Ellis Kampani joined the instrumentalists. She offered marvelous shaping of lines and an urgency that clearly communicated the meaning of the text. Her elegance and clarity, along with the transparency of the orchestra, made the cantata not just good music but good theater as well.

Kampani took the stage again, this time for the cantata “Dietro l’orme fugaci.” Her smoky, smoldering qualities were perfect for the sections of the work where the sorceress Armida rages at the lover her has abandoned her. She contrasted this with a charming lightness when Armida displays resignation and a possible change of heart.”
M L Rantala - Hyde Park Herald (Jan 9, 2008)
"Handel's in a Rage"- Baroque Band, Chicago

"Soprano Jennifer Ellis Kampani was the compelling and conflicted victim of her infatuates' sordid infidelities. Her voice was stylish and nimble, and she inhabited her characters with uncanny sympathy."-
Michael Cameron - The Chicago Tribune (Dec 17, 2007)

Washington Post

Dido and Aeneas, Bach Sinfonia

“…Combine that with a stunning turn by soprano Jennifer Ellis Kampani as Dido... But this opera ultimately belongs to its Dido, and Kampani's Dido was one to remember. Even among these singers, her voice stood out -- lambent, limpid and lovely across her register, and whether loud or soft.
She harnessed this voice to a striking reading of her character…Kampani's imaginative phrasing and marvelous control made Dido's famous lament into a window onto her grief-riven soul.”
Andrew Lindemann Malone - Washington Post (Oct 30, 2006)
Joy of Christmas, Cathedral Choral Society

“but the concert's most memorable moment was Kampani's clarion reading of "Adeste Fidelis" from the back of the nave.”
Andrew Lindemann Malone - Washington Post (Dec 12, 2006)
Vivaldi “Nulla in Mondo Pax”, Bach Sinfonia

“…Fortunately he had a soprano soloist, Jennifer Ellis, who could fly through the thicket of runs in both the fifth verse of the "Dixit Dominus" and the "Alleluia" finale of the Motet "Nulla in Mundo" with astonishing agility and clarity."
Joan Reinthaler - Washington Post (May 22, 2006)

LA Times

Bach Cantatas, Musica Angelica with Martin Haselboeck

“soprano Jennifer Ellis… filled the resonant hall with vibrant, thrilling sound”
Los Angeles Times (Oct 10, 2005)
Mozart’s C Minor Mass with Glendale Symphony

“Jennifer Ellis offered a fresh, unmannered rendering …soaring in the upper register”
Los Angeles Times (Dec, 1998)

New York Times

Monteverdi Vespers, Tiffany Consort

"The soprano soloists - Cathleen Ellis, Jennifer Ellis … were more consistently pleasing”
Allan Kozinn - New York Times (Dec 8, 2004)
EMA Competition

"But you have to hope that festival representatives were on hand to recruit the other spirited and gifted performers as well, especially the sopranos Jennifer Ellis and … each winning in their divergent repertories and styles."
James Oestreich - New York Times (Oct 11, 2004)

San Francisco Chronicle

Bach Cantatas with the American Bach Soloists

“The strongest singing came from Jennifer Ellis, whose fresh, fluid soprano moved easily through Bach’s florid melodic lines”
San Francisco Chronicle
Bach's St. Matthew Passion, American Bach Soloists

“…the exceptions were soprano Jennifer Ellis, with her probing but appealingly veiled vocal tone...”
Joshua Kozman - San Francisco Chronicle (Sep 12, 2006)

SF Classical Voice

Pergolesi’s La Serva Padrona with Magnificat

“...soprano Jennifer Ellis offered excellent singing and a satisfying degree of comic flare… Ellis expressed Serpina’s edgy energy and changeable mood with an uninhibited, colorful singing style…with sweet lyricism in the seductive aria…”
San Francisco Classical Voice
Carissimi- Vanity of Vanities with Magnificat

“Then Jennifer Ellis tore into a long solo, ”Suonerà l'ultima tromba” (The last trumpet shall sound) — the opening salvo in sounding the concert's theme of Vanity. In a striking, trumpet-like sound, she sang of the certainty of death and its terrors. Then, in a whole new voice, she sang that we are dust and ashes, and life is short. She sang dreamily of dreams, speakingly of the voices of the dead, traversing her whole range from high to low as she came back to "morte." Carissimi's music is stunning, and Ellis's performance of it was the high point of the concert — rich in dramatic feeling, virtuosity, word painting, vocal coloring and dynamic changes. “
San Francisco Classical Voice
Rovetta's Magnificat, Magnificat

“Another standout was the Magnificat Sopranos Catherine Webster and Jennifer Ellis are a great team, masters of florid singing, so flawless in intonation that dissonant cadences have great expressive power. Ellis especially is a dynamo of energy and potent sound.”
Anna Carol Dudley - San Francisco Classical Voice (Dec 16, 2004)
Symphoniae Sacrae, Schütz, Magnificat

“Soprano Jennifer Ellis gave a moving reading of this emotional piece... Ellis’ superior expression and beautiful tone in this passage brought tears to the eyes.”
Rebekah Ahrendt - San Francisco Classical Voice (Jan 27, 2006)

Other Publications

Charpentier’s Acteon with Magnificat

“Of the excellent singers, Jennifer Ellis (Diana) was outstanding. Ellis sings as sweetly as she looks, offering a freshness of voice, fineness of timbre, and ease of production that place her in the front rank of early-music sopranos.”
Handel's Messiah with the Seattle Baroque Orchestra

“Ellis’ soaring vocals gave the feel of youthful… passionate commitment”
Seattle Post-Intelligencer
Handel's Esther with the American Bach Soloists

“Jennifer Ellis, in the role of the Israelite Woman, impressed with her lyric soprano, a silver thread fine as silk.”
"Spain, South America and Africa" with Portland Baroque and Andrew Lawrence-King

“Ellis, a soprano with a fluent and agile voice, brought a clear purpose to her "xacaras," stabbing her high notes, sighing between phrases and twisting her tone from warm to piercing.”
The Oregonian
"Fiesta Mexicana" with Andrew Lawrence King

“… was nicely complemented by the brighter, open sonorities of the wonderfully expressive soprano Jennifer Ellis.”
Beacon Journal- Cleveland
"Vivaldi at the Pieta" with New York Collegium and Andrew Parrott

"The standout among the soloists was soprano Jennifer Ellis, who sang with a lovely, clear tone and a sense of joy."
Sarah Bryan Miller - Saint Loius Today (Apr 24, 2005)
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