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Opera News, March 2007

Seattle Opera, Julius Caesar

Kristine Jepson was a powerful Sesto, attacking her first aria ("Svegliatevi nel core") ferociously, yet able to caress the words in "Cara speme" with full, creamy sound.

Seattle Times, FEBRUARY 2007

Seattle Opera, Julius Caesar

Helene Schneiderman's tragic, dignified Cornelia was at the opera's emotional center, never more affectingly than in her farewell duet with Kristine Jepson's first-rate Sesto.

Seattle Post IntelliGencer, FEBRUARY 2007

Seattle Opera, Julius Caesar

Kristine Jepson's Sesto was striking in every regard.


The New York times, September 2006

Metropolitan Opera, Idomeneo

The admirable mezzo-soprano Kristine Jepson brought a rich voice and dramatic poignancy to the role of Idamante.

The sun, September 2006

Metropolitan Opera, Idomeneo

The Met had a nice complement to Ms. Röschmann in the role of Idamante: the mezzosoprano Kristine Jepson. She has scored at the Met before — as Cherubino, for example (in "The Marriage of Figaro"), and also as Siébel ("Faust"). Actually, she looked rather like Octavian ("Der Rosenkavalier") in Idamante's silver getup. And she sang with her accustomed beauty, accuracy, and ease. The high notes were particularly impressive, and the soft high notes the most impressive of all.


Bloomberg, March 2006

Gran Theatre del Liceu, Idomeneo

Kristine Jepson holds her own as his tormented son Idamante, with a warm, healthy sound and effortless technical command.


The Washington Post, October 2005

San Francisco Opera, Dr. Atomic

Still, it was Kristine Jepson, as Kitty Oppenheimer, who seemed to carry the emotional drama, singing Rukeyser's words with melting tenderness and infinite sorrow.

Mercury News, October 2005

San Francisco Opera, Dr. Atomic

The cast, as said, is first-rate. Kristine Jepson, an amber-hued mezzo-soprano with range and control, is Kitty, whose lines are full of florid melisma.

Timesonline, October 2005

San Francisco Opera, Dr. Atomic

The cast is flawless, including the original Nixon (James Maddalena) as a put-upon weather-forecaster. Kristine Jepson as Kitty Oppenheimer holds the stage sublimely with her marvellous settings of Rukeyser.


The New York Times, April 2005

Metropolitan Opera, Faust

The excellent mezzo-soprano Kristine Jepson was endearing as the young man Siebel, who has a crush on Marguerite.


St. Petersburg Times, June 2004

Pittsburgh Opera, Dead Man Walking

Kristine Jepson gave a scintillating performance as Sister Helen Prejean in Dead Man Walking, an opera by Jake Heggie (music) and Terrence McNally (libretto) that was a highlight of the convention…. Jepson, a mezzo-soprano with plenty of range to reach stirring high notes in seamless fashion, brought the right combination of grand passion and down-to-earth empathy to her role. When she sought to comfort the parents of the murder victims, who didn't understand or appreciate her advocacy of the inmate, it was potent stuff. The nun's plaintive "I'm sorry. So sorry" didn't mollify them, nor did her appeal to Christ ("Don't give me Christ," a parent scoffed), and Jepson captured the nuance of the scene beautifully.


London Financial Times, 2004

Netherlands Opera, Lucio Silla

Best of all is Kristine Jepson's Cecilio, a condemned man until the final chorus. Her voice is rich, agile and laden with secrets. When she sings, time stops.


Opera News, 2003

Cincinnati Opera, Norma

As Adalgisa, Kristine Jepson was much more comfortable with bel canto style. Her effortlessly produced, silken mezzo seemed made for this music, and she created a sympathetic, poignant character.

Opera, 2003

Cincinnati Opera, Norma

The Adalgisa of Kristine Jepson simply could not be faulted. With a tone alternating cream and silk, she was completely comfortable in the bel canto style.


The New York Times, January 2002

Metropolitan Opera, Le Nozze di Figaro

Kristine Jepson was a persuasively boyish Cherubino and gave ardent accounts of her two showpieces, ''Non so più'' and ''Voi che sapete.''


Opera Japonica, 2002

Santa Fe Opera, La Clemenza di Tito

As Sesto, Kristine Jepson developed her character with skilled dramatic expression. Her first aria, ‘Parto, parto,’ was sung with creamy tones that blended wonderfully with the aria's gorgeous clarinet obbligato and her contrapuntal duet with Annio, sung by Joyce Di Donato, was absolute perfection.

Tucson Weekly, August 2002

Santa Fe Opera, La Clemenza di Tito

Mezzo Kristine Jepson plays an outstanding Sesto in Mozart's La Clemenza di Tito.


Opera News, March 2001

Metropolitan Opera, Der Rosenkavalier

The big news about the Met season’s first Der Rosenkavalier (Nov. 16) was mezzo Kristine Jepson in her first Octavian for the company. Still in the early stages of what should be a long career, she is already well equipped for the title role in this Richard Strauss – Hugo von Hofmannsthal comedy-spectacle. She’s tall and slim, moves like a seventeen-year-old boy (even while pretending to be a graceless girl) and acts with subtle transitions among silliness, righteous fury, romantic ardor and regret, when that ardor huts the Marschallin. She also can sing easily over a Straussian orchestra and commands a range up into soprano territory. Jepson’s performance made it seems less important that she was a short-notice substitute for Vesselina Kasarova, an internationally famous bel canto mezzo who had been set to make her Met debut by singing Octavian for the first time in her career.


The New York Times, August 2001

Avery Fisher Hall, Das Paradies und die Peri

Kristine Jepson's mezzo-soprano was seamless.


The New York Times, November 2000

Metropolitan Opera, Der Rosenkavalier

In any event, the young American mezzo-soprano Kristine Jepson, who was scheduled to sing in the last performance of “Der Rosenkavalier”” next month, came to the rescue, delivering a vocally and dramatically assured performance. Her voice has a rich, dusky sound and carries well in the house. Tall, limber and completely at ease onstage, Ms. Jepson charmingly projected the awkwardness of a strapping adolescent male trying to muster the authority of a count, a mere boy who abjectly adores the older, worldly Princess von Werdenberg, or so he thinks, until he is vanquished at sight by fresh-faced young Sophie. (Ms. Jepson will share the role for the remaining performances at the Met with Susanne Mentzer.)


Opera News, December 1999

Santa Fe Opera, Ariadne auf Naxos

Even in a strong lineup of singers, mezzo Kristine Jepson earned special affection. Vocally and dramatically superb as the beleaguered Composer, she was simultaneously intense and restrained in a way that recalled actress Emma Thompson.


The New York Times, May 1999

New York Chamber Symphony, El Amor Brujo

Ms. Jepson's handling of Falla's Africa-tinted melisma had force and presence.


National Post, May 1999

Vancouver Opera, Bluebeard’s Castle

American mezzo Kristine Jepson gives a tremendous vocal performance as Judith. Bright and direct but still radiant with colour, her voice would see, to have grown in stature nature recently, to judge by a resume that lists Rosina, Cherubino, and Hänsel. Wagner and Strauss are planned, but the confidence with which she handles the language and the style of Eastern European composers suggest that she could excel in another: The great Janacek roles surely beckon.


The Washington Post, January 1999

The Washington Opera, The Crucible

Kristine Jepson was equally haunting in the role of the gentle wife, Elizabeth; I shall not forget her sad, loving, loyal desperation in the courtroom scene.


The New York Times, September 1998

New York City Opera, Il Barbiere di Siviglia

Some of the singing was exceptionally promising. Among those making their debuts was Kristine Jepson as Rosina. She is self-assured and scrupulous onstage. The voice carries easily in this big space and negotiates the music's intricacies without incident. Ms. Jepson is the kind of finished young American singer who keeps international opera houses, large and small, more or less in business, and her presence should help the City Opera considerably.


Opera News, January 1996

Canadian Opera Company, Ariadne auf Naxos

COC’s revival of Richard Strauss’ Ariadne auf Naxos (Sept. 30) was illuminated by Bradshaw’s glowing reading and by two radiant singers. Kristine Jepson was a tender unforced, eloquent Composer.


The Observer, November 1996

Opera Theatre of Saint Louis, La Clemenza di Tito

There was no new opera at Saint Louis this year, but, as ever there were new singers of merit. The young mezzo Kristine Jepson, Sextus in La Clemenza di Tito, was the most remarkable. She has a dark, forthright, sincere tone, with colours that catch attention and stir emotions. Her voice ran evenly, fluently, purely through the wide range of the role.
She didn’t just pronounce the words clearly; she used them…. Text, tones, phrasing, and bearing joined in her memorable portrayal of the ardent, impetuous youth torn between admiration of Titus and thraldom to the scheming Vitellia.

Opera News, November 1996

Opera Theatre of Saint Louis, La Clemenza di Tito

The evening was redeemed, however, by Kristine Jepson’s Sextus, the most significant vocal performance of the season. She is a mezzo to be watched.


Opera, October 1995

Cincinnati Opera, Le Nozze di Figaro

Kristine Jepson, in her first performance of Cherubino, made an arresting impact; subtly acted and inflected, sung with excellent style and grace, full of confidence, and a honey-toned voice. Jepson was all one could ask of a Cherubino.


Photo Credits:
Ken Howard
Robert C. Ragsdale

 

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