August 22, 2017

Reviews

“Soprano Jessica Marsten carries the extended
melismatic passages particularly well and with
great expression…”

International Alliance of Women In Music Journal

 

“In a stage filled with theatrical and lyrical drama,
soprano Jessica Marsten shone especially brilliantly
as the Queen of the Night, despite her few appearances.”

Expressotam.com.mx

 

“The Angel, which features Jessica Marsten’s clear soprano”

Fanfare Magazine

 

“This spiritual melos provides a lush backdrop
to Jessica Marsten’s Steber-like youthful clarity.”

Musicweb.uk.net

 

“Soprano Jessica Marsten’s clear diction and silvery
tone suit the piece perfectly, and she manages the huge
vocal range with impressive confidence at both high and
low extremes of register.”

Classicstoday.com

 

“Jessica Marsten’s clear soprano was especially persuasive
in the mid range, where most of the narrative lies.”

American Record Guide

 

“…the resulting poem and its performance, by soprano Jessica Marsten,
hits the mark, with exceptional dramaturgy.  Ms. Marsten’s delivery and
diction was a delight.”

New Music Connoisseur, New York

 

”Jessica Marsten, a sweet voiced soprano, brought this
two and a half octave extended song to life.”

MusicalPointers.co.uk

 

“…her lovely timbre, of notable homogeneity in all its
registers and her security in the extreme highs, and an
impressive theatrical talent were made evident in the
fiendishly difficult Vorrei spiegarvi, O Dio, of Mozart,

whose coloratura was resolved with exemplary neatness.

But it was in the second half where we really discovered
her exceptional skill in vividly creating the atmosphere
of each song, in a repertoire where a fine interpreter unveils
a thousand marvels.  Vocally as well as expressively, Ms. Marsten
knew how to find just the right note of sentimentalism, irony or
fleshy humour.”

Diario de Las Palmas, Spain

 

Jessica Marsten’s lovely lyric soprano and perky
charm made her an especially memorable Susanna.
Her act IV aria, Deh vieni, non tardar, was exquisitely
sung with a glorious cadenza at the end.”

Boro Park Community News, New York

 

“Soprano Jessica Marsten was also genuinely funny – as well
as vocally adept – as Adele, Rosalinda’s stage-struck maid.
She seems to produce her voice effortlessly.”

Cape Cod Times, Massachusetts

 

“Similarly impressive was Jessica Marsten [as Adele],
who took full advantage of the opportunity to shine
that’s provided by the famous Laughing Song in Act II.”

Worcester Telegram & Gazette, Connecticut

 

“Of the supporting voices, soprano Jessica Marsten produced
an ingratiatingly soft, centered sound as Valencienne.”

The Buffalo News, New York

 

“Miss Marsten has a voice which she uses expressively.
She was at her best and most sensitive in Poulenc’s “Airs Chantés”
and in Barber’s “O Boundless, Boundless Evening,” and she slipped
easily into a theatre style for Lee Hoiby’s “Why Don’t You?” and “The Serpent.”
Dominick Argento’s “Elizabethan Songs” [had] some lovely turns of phrase.”

The New York Times, New York

 

“In a fit of temper, a very bad child disrupts the Fire (Jessica Marsten, virtuoso)…”

Kleine Zeitung, Austria