Press Quotes
Amneris in Verdi Aida
English National Opera
Amneris is the more overtly dramatic part, and Jane Dutton gave a big reading of it. She has all the big-breathed high-notes in her armoury, and also knows how to make her presence felt. Alexander Campbell — Classicalsource.com, November 2007
The American newcomer Jane Dutton gives a commanding portrayal of Amneris. Richard Morrison — The Times, November 2007
Jane Dutton is impressive as the pharaoh’s daughter, Amneris, Aida’s rival. Barry Millington — The Evening Standard, November 2007
Jane Dutton, as Amneris, produces some thrilling high notes toward the end of Act 4. Warwick Thompson — Bloomberg.com, November 2007
Jane Dutton’s Amneris was a joy to watch: vain, spoilt and utterly self-indulgent. She simply was Amneris. Catherine Murrison — SkyArts, November 2007
Jane Dutton, in the role of Amneris, daughter of pharaoh and rival , Aida, has a strong voice of a mezzo-soprano EFE Spanish News Wire Service, November 2007
Jane Dutton ’she undoubtedly has the vocal equipment for the great scenes of rivalry’ Edward Seckerson — The Independant, November 2007
Claire Rutter was a full-voiced and suitably anguished Aida, making her title role debut, and was well matched in American mezzo Jane Dutton’s Amneris, the two voices blending well. Keith Clarke — MusicalAmerica.com, November 2007
Amneris in Verdi Aida
Lyric Opera of Kansas City
Jane Dutton is blessed not only with a thrilling mezzo-soprano voice, but also a spirited acting ability. She played the princess with delightful jealousy and expression, nearly sticking her tongue out at Aida when Radames, returning in victory, is offered Amneris’ hand in marriage as reward. When a beautiful voice combines with acting talent as well, opera becomes all it is meant to be. Deborah Buckner — AnE Vibe, October 2007
Jane Dutton had more command as Amneris, and sang with dramatic ease and intensity throughout. Chris Shull — Opera Now, January/February 2008
Jane Dutton acted the socks off of bad-girl Amneris. Paul Horsley — Kansas City Star, September 2007
Santuzza in Mascagni Cavalleria Rusticana
Virginia Opera
The splendid Jane Dutton headlined Cav as Santuzza. Her portrayal was so thoroughly thought out and delivered that her evolving distress became palpable. When she poured her heart out to Mamma Lucia, you felt not only her despair, but also the beginning of awareness on the part of Lucia that Turiddù just might be a bad boy. The fact that her soprano was stunning, focused and expressive only added to the joy of watching her work. Opera Canada — Summer 2007
As Santuzza, scorned lover of the womanizing Turridu in Cavalleria, mezzo-soprano Jane Dutton thrilled the audience with an instrument of technical and dramatic perfection. The stunning voice is huge, yet silvery and agile; at every dynamic and in every part of the range, the production was flawless. Port Follo Weekly — Virginia Beach, March 2007
There is a stellar cast, a perfect cast in fact… Jane Dutton, Santuzza, fresh from the Metropolitan Opera, is a vibrant mezzo-soprano with a voice of many colours and shadings. It’s a thrilling performance as she vocally soars above the large chorus and orchestra seemingly without effort. Edgar Loessin, WHRO-FM, March 2007
As Santuzza, Jane Dutton was in a league of her own, singing with a clear, lush and startlingly powerful voice. Daniel Neman, Richmond Times-Dispatch, April 2007
‘Cav’ belonged to Jane Dutton as Santuzza, her dowdy dress contrasting with a pure, lovely voice that also had some bite to it. Mark Estren, The Washington Post, April 2007
The standout soloist of the evening was mezzo-soprano Jane Dutton as Santuzza, a surprisingly strenuous role for a one-act opera. T.L Ponick, The Washington Times, April 2007
Mezzo-soprano Jane Dutton was a sympathetic Santuzza… Her voice was expressive in her various numbers, including a passionate duet with Turiddu and a soaring Easter Hymn. The Virginian-Pilot Newspaper, March 2007
Wagner Wesendonck Lieder
BBC Scottish Symphony Orchestra/ cond. Vassily Sinaisky
Making her UK debut, American mezzo-soprano Jane Dutton floated her voice easily above the orchestra even in the most powerful passages and not a word of the text was lost. She has the power of a true Wagnerian singer along with the ability to project the subtlest poetic visions. The Herald
Jordan Baker in Harbison The Great Gatsby
Metropolitan Opera
Dawn Upshaw was elegantly accompanied by Jane Dutton. Financial Times
Anne Boleyn in Saint-Saens Henry VIII
Gran Teatre del Liceu
Jane Dutton had an excellent level, knowing how to transmit a frivolous air to her role as Anna Bolena, which she sang with the considerable solid resources of a mezzo-soprano. La Vanguardia
Adalgisa in Bellini Norma
Gran Teatre del Liceu
Jane Dutton was an Adalgisa of the highest quality… an Adalgisa with a solid voice… effective. La Vanguardia
…the American mezzo Jane Dutton as an attractively young-looking Adalgisa partnered with (Ana Maria) Sanchez with musicianly sensitivity in the duets, and proved more alert to stage activity than anyone else. Opera
Meg in Verdi Falstaff
Indianapolis Opera
Jane Dutton (Meg) out-honked her fellow conspirators with her massive and solid voice. Opera News
Pauline in Tchaikovsky Pique Dame
Gran Teatre del Liceu
Jane Dutton performed as Pauline with a warm mezzo voice that was especially effective in the duo and pantomime. La Vanguardia
Queen Gertrude in Hamlet
Gran Teatre del Liceu
The mezzo-soprano Jane Dutton, already well-known at the Liceu from previous seasons, sang an exemplary Queen Gertrude, with a voice of smooth texture. La Vanguardia
She projected towards the hall her full and velvet voice for her grand scene during the third act after a perfectly performed trio. Opera Actual
Queen Gertrude in Hamlet
Lyric Opera of Kansas City
Equally potent was the other member of the opera’s “power couple,” Gertrude, played with frightening physicality by Jane Dutton. The violent scene in which Hamlet admits he knows his mother’s crime ranks among the most effective confrontations I’ve seen on the Lyric stage. Kansas City Star
Jane Dutton is excellent as Gertude, who is blessed with the show’s most wrenching music. Alan Scherstuhl — The Kansas City Pitch
Thaddeus Strassberger’s stark, abstract designs and muscular, knowing direction — and great lead singers like Franco Pomponi (Hamlet) and Jane Dutton (Gertrude) — made this version of Thomas’ opera a perfect night of theater. Kansas City Star
Sonyetka in Shostakovich Lady Macbeth of Mtsensk
San Francisco Opera
The smaller roles were just as well handled. They included Jane Dutton in a vivacious debut as the lascivious Sonyetka. The San Francisco Chronicle
Jane Dutton was a firm-toned Sonyetka. Contra Costa Times
The rest of the cast was flawless, including Jane Dutton’s slutty Sonyetka, who steals Sergei from Katerina. The Alameda Times-Star
Sara in Donizetti Roberto Devereux
New York City Opera
Miss Dutton has an attractive, big mezzo and the spirit to use it boldly. Wall Street Journal
Dutton with a rich warmth of tone and lingering phrasing. The Star-Ledger
Jane Dutton, a Mezzo with a bright soprano timbre, made an impressive debut as Elizabeth’s confidante. New York Post
Lovely to look at and lovely to hear, Mezzo Jane Dutton was Sara, Elizabeth’s rival for Devereux’s affection. Passionate and glamorous, her Sarah was, rightly, Elizabeth’s complete opposite. Boston Herald
Jane Dutton, as Sara, has a healthy, big voice. The New York Times
Jane Dutton, a Mezzo with a bright soprano timbre, made an impressive debut as Elizabeth’s confidante (and rival) Sarah. She is not required to maintain quite the icy dignity of the Queen, and she brought warmth and vulnerability to the part of a wife whose emotions betray both her husband and her royal patroness. Musical America.com
Jane Dutton, making her company debut as the earl’s whiny mistress, Sara, balances Flanigan’s flamboyance with more orthodox finesse. Her singing is pearly and powerful, her tenderness persuasive and her feel for Donizetti’s much-abused style is a balm. Newsday
Her voice has the clarity of a bell-like soprano. AP Arts and Entertainment
Jane Dutton, as his secret love Sara, has an attractive, sizeable mezzo that she deployed with spirit. Opera Now
Andronico in Handel Tamerlano
Little Orchestra Society
Only Jane Dutton, as Andronico, sounded free, noble and at ease in this extremely difficult music. New York Times
Maddalena in Verdi Rigoletto
Gran Theatre del Liceu
With her beautiful lower notes and her rustic and convincing performance, Jane Dutton was seductive as Maddaiena. La Vanguardia
Berlioz Orchestrated Songs
Prague Autumn Festival
Mezzo-soprano Jane Dutton achieved a moving and memorable performance full of expression, and without any difficulties attained a rich and sonorous sound. The outstanding American Mezzo-soprano Jane Dutton was the highlight of an extraordinary evening that has so far been the climax of the Prague Autumn International Music Festival. Pravo Newspaper
Jocasta in Stravinsky Oedipus Rex
Kansas City Symphony Stravinksy Festival 2001
Jane Dutton sang the part of Jocasta with stern security.
Ravel and Bizet in concert
Adler Theatre
Mezzo-soprano Jane Dutton charmed the near-sellout Adler Theatre audience in beguiling renditions of Ravel and Bizet, two French masters. The exotic, rapturous music was simply hypnotic. Ms. Dutton sang with passion and confidence, perfectly capturing the dreamlike, intoxicating nature of the languorous songs. At times, she was alluring with her vocal modesty and mystery. At others, the mezzo overwhelmed us with the ecstasy of the music. The Dispatch and Rock Island Argus
Mahler Das Lied von der Erde
Louisiana Philharmonic
A fabulous mezzo named Jane Dutton stepped in at the last minute.’ Classical-net