Jane Dutton’s Kundry combines gleaming vocalism and histrionic magnetism.

— The Financial Times

Press Quotes

Kundry in Wagner Parsifal

English National Opera

 Jane Dutton’s Kundry combines gleaming vocalism and histrionic magnetism. Andrew Clark — The Financial Times, February 2011

 Soprano Jane Dutton tackles the killer role of Kundry and comes out on top. Clare Colvin — Scottish Sunday Express, February 2011

 Jane Dutton brought a dark-hued, vibrant voice and volatile intensity to the role of Kundry. Anthony Tommasini — New York Times, February, 2011

Jane Dutton offers a subtly nuanced, highly promising Kundry. Barry Millington — The Evening Standard, February 2011

[a] controlled and seductive Kundry Tom Service — Guardian Classical Blog, March 2011

 Stuart Skelton (Parsifal) has a thrillingly heroic tenor voice, and his beauty and power are matched by Jane Dutton as Kundry, his self-loathing temptress. Warwick Thompson — Bloomsberg, February 2011

…she portrayed Kundry as mysterious, defensive yet vulnerable. No wonder the squires taunt her. Dutton had the full range the part requires, which stood her in perfect stead in the Herzeleide Narrative (special mention for Wigglesworth here, whose hushed pianissimi and perfectly timed lead-in were the stuff of gold). Her top level is wonderfully free, her lower register fully developed. Stage-wise, she begins behind a static costume before systematically shedding her layers (at one point it is like she emerges from a chrysalis). Lehnhoff’s take on Kundry’s multiple incarnations mentioned mentioned in the text (by Klingsor), I suppose. Dutton delivered the magical line “Gelobter Held” (here, “O noble lord”) beautifully. Wigglesworth paced Kundry’s description of seeing Chist on the cross (“I saw him … and … laughed”) superbly; Dutton negotiated the huge interval on “laughed” perfectly. Colin Clark — Seen and Heard International, February 2011

[has] a magnetic stage presence, no more so in her virtually silent presence in the last act. Keith McDonnell — What’s on Stage, February 2011


Great Wagner Concert

 Opera Birmingham

 The Liebestod, then, sung to transcendent perfection by soprano Jane Dutton. Phillip Ratliff — The Birmingham News, April 2011

Princess Eboli in Verdi Don Carlos

Opera North (UK)

Jane Dutton, making her Opera North debut, excels as scheming Princess Eboli. Her aria in the fourth act is a soaring belter. Each word is purely sung. More of Ms. Dutton, please. Kevin Berry — The Stage, May 2009

Jane Dutton “niftily negotiates the Saracen curliques of her Veil Song and has enough lung power for a barnstorming O don fatal!. Hugh Canning — The Sunday Times, May 2009

Jane Dutton is the classiest Verdian, hurling out her Act IV aria with juicy abandon. Neil Fisher — The Times, London, May 2009

But this is an opera for darker voices: Jane Dutton has a sultry timbre as the machiavellian Princess Eboli Alfred Hickling — The Guardian, May 2009

Jane Dutton was a hearty, gutsy Eboli. Rupert Christiansen — The Telegraph, May 2009

Jane Dutton is the substantial Eboli. Andrew Clark — Financial Times, May 2009

Jane Dutton’s mezzo brought a variety of vocal colour to Eboli’s two demanding arias. Appropriately dressed in scarlet contrasting with the predominant dark of Philip’s Court, she navigated the vocal pitfalls of the Moorish song nicely while meeting the demands of O don fatale with commitment and dramatic accomplishment. Robert J. Farr — Seen and Heard International, June 2009

Jane Dutton’s Eboli was alluring and magnetic, with visceral power in ‘O don fatale’. Ruth Elleson — Opera Today, May 2009

There need be no such caveat with Jane Dutton’s vibrant Princess Eboli, whose Veil song and showpiece aria O don fatale duly delivered. Geoffrey Mogridge — The Wharfedale Observer, May 2009

Santuzza in Mascagni Cavalleria Rusticana

English National Opera

But at the centre of it all is Turiddu’s love-on-the-rebound woman, Santuzza, and Jones turns her into an embittered witch-like outsider, robbed of her honour and self-respect. And hell hath no fury like Jane Dutton, who yields her huge voice like a Sicilian curse. Edward Seckersen — The Independent, September 2008

Jane Dutton(Santuzza) hits the big tunes with irresistible force and passion. Rupert Christiansen — The Telegraph, September 2008

Cav is dominated by the massive soprano of Jane Dutton’s Santuzza. Richard Morrison — The Times, September 2008

Jane Dutton is Santuzza and Peter Auty is Turiddu; they are excellent. Andrew Clements — The Guardian, September 2008

Jane Dutton sing(s) superbly. Nick Kimberley — The Evening Standard, September 2008

Jane Dutton’s house-filling Santuzza has a …huge heart. Andrew Clark — Financial Times, September 2008

There was no questioning the commitment of Jane Dutton’s acting as Santuzza and her mezzo is a big, often impressive instrument. Hugo Shirley — MusicalCriticism.com, September 2008

Jane Dutton as a slightly-crazed Santuzza and Peter Auty as a vibrantly Italianate Turiddu shook the rafters with their singing – it was certainly thrilling. Keith McDonnell — MusicOHM, September 2008

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

Der Komponist in Strauss’ Ariadne auf Naxos

Indianapolis Opera

There was generous applause for another Indiana daughter, Jane Dutton. Her Composer, rich in voice and emotion. Charles Parsons — Opera News, December 2009

Also making a major contribution to the ensemble’s top-notch effort last night was another soprano with Indiana ites–Jane Dutton. With her big mezzo voice, Dutton sang the role of the Composer with a vitality which sent her notes soaring clear up to the Clowes Hall balconies. Tom Alvarez –Indianapolis Examinier, October 2009

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