Press

The Rutland Herald-Review of Barn Opera’s Magic Flute/September 16, 2019/Jim Lowe

“Jessica Jane Jacobs was also most sympathetic as Pamina…with her brilliant soprano, her performance was beautiful and could be deeply moving.”

The Rutland Herald-Review of Barn opera’s Carmen/May 19, 2019/Jim LOwe

“Jessica Jane Jacobs’ rich soprano, though a bit Italianate, beautifully contrasted Carmen’s darkness.”

The east hampton press & the southampton press-review of long island opera comany’s la Bohème/november 13, 2017/fred volkmer

“Jessica Jane Jacobs, as Mimi, sang with an effortless beauty and tremendous romantic appeal. “Sì, mi chiamano Mimì” had all the delicacy and vulnerability and vocal bloom that one could have desired.”

Boston Classical review-review of Boston opera collaborative’s La rondine/May 18,2017/aaron keebaugh

“The cast featured a lineup of fine singers. Jessica Jacobs was an aptly torn and troubled Magda who was caught between a staid relationship and a sweltering love affair. Jacobs’ singing was superb, her voice radiant and well suited to Puccini’s style. Her singing of “Chi il bel sogno di Doretta” sounded full and rich in its sweeping high notes.”

the theater times-review of boston opera collaborative’s la rondine/may 18, 2017/katrina holden-buckley

“One of the big questions of the opera is whether Magda will soar like the swallow toward a life of romance, as it projects in her palm reading. If Magda, the character, didn’t end up soaring, Jessica Jacobs leading the cast as Magda certainly did. We knew this from the first act’s formidable interpretation of the opera’s most famous aria, “Ch’il bel sogno di Doretta.” Jacobs truly understands Puccini stylistically and her full voice and phrasing are simply gorgeous, ebbing and flowing the way the composer intended. Jacobs’ facial expressions were particularly captivating, and she took us on her fond, emotional remembrances with her.”

the boston musical intelligencer-review of Boston opera collaborative’s la rondine/may 22,217/lee eiseman

“‘Chi il bel sogno di Doretta’ (Doretta’s beautiful dream) begins with Prunier the poet extolling romance…In the second verse, Magda, soprano Jessica Jacobs, wistfully recalls love lost". In addition to pipes with real heft and warmth, Jacobs has an expressive face, ever interesting to watch, especially in the Act Three fadeout, where she registered Weltschmerz on a level of the Marschallin in Rosenkavalier.”

the boston musical intelligencer-review of boston opera collaborative’s idomeneo/june 15, 2016/kate stringer

“Soprano Jessica Jacobs boasts a sizeable instrument with a nightingale’s vibrato…she seemed to master the scale of her part over the course of the evening’s first half, and by the third act, was in fine form, giving a sensitive reading of “Zeffiretti lusinghieri”; her voice seemed to embody the very breezes described in the text.”

the boston musical intelligencer-review of nempac opera project’s la bohème/june 29,2015/kate stringer

“As Mimì, soprano Jessica Jacobs gave the production its soul. her sensitive portrayal of Puccini’s soave fanciulla was utterly guileless and charming in its simplicity, her acting honest and affecting. Moreover, Jacobs’ voice was beautifully suited to the repertoire; her portamenti were seamlessly executed, and her crescendi were, at times, thrilling. A certain otherworldly quality to Jacobs' sound made the final scene of the opera all the more haunting, as Mimì takes leave of this life and her loved ones. Moreover, Jacobs’ ability to to respond organically to her cast mates puts her in a growing minority of opera singers who are able to fully integrate dramatic truthfulness with fine vocal delivery; it was refreshing for this reviewer to see so well rounded an operatic [singer].”

the harvard crimson-review of Boston opera collaborative’s rinaldo/March 30, 2015/lien e. le

“The role of the sorceress queen Armida was sung with admirable panache by Jessica Jacobs. Jacobs drew eyes and ears with her strong stage presence and cutting, clear voice.”

The boston musical intelligencer-review of boston opera collaborative’s rinaldo/march 28, 2015/sudeep agarwala

“As Armida, soprano Jessica Jacobs has a clear and bejelwed tone that manages exquisite prrecision in Handel’s treacherous melismae, and performed with vivid and memorable rage in “Furie terribili!”".”

Boston classical review-review of boston opera collaborative’s rinaldo/march 17, 2015/Angelo Mao

“Jessica Jacobs brought a warm soprano to Armida. She could chew up the scenery when needed, but was affecting as well when heartbroken over Rinaldo’s rejection.”

The worcester telegram and gazette-review of Calliope productions’ the king and I/May 18, 2012/Paul Kolas

“This is Jacobs’ initial appearance at Calliope, and hopefully the first of many to come. She is absolutely luminous in the role, full of steely compassion. When she meets the King’s wives, she tells them about her late husband Tom, leading up to her gorgeous rendition of “Hello, Young Lovers”.”