Reviews

High Priestess in Aida w/ Cincinnati Opera

"Soprano Jennifer Cherest, evoking the Egyptian god Ptah as the High Priestess, was strikingly expressive."

Janelle Gelfand, Cincinnati Business Courier

Susanna in The Marriage of Figaro with North Carolina Opera

“Encountering a full, evenly-produced lyric voice with no weaknesses in any portion of the range of Susanna’s music was a sensational pleasure. Had Cherest’s virtues been solely vocal, she would have been a noteworthy Susanna, but the imagination and sensitivity of her performance made a distinctive Susanna an unforgettable one.”

 Joseph Newsome, Voix-des-Arts.com

Sybil Vane in the Picture of Dorian Gray at the Aspen Music Festival

“Jennifer Cherest’s emotionally charged singing as Sibyl was very affecting”

Financial Times of London

Cristina Kahlo in Frida w/ Cincinnati Opera

“Also making her Cincinnati Opera debut, Jennifer Cherest brought an attractive lyric soprano to the role of Cristina Kahlo, Frida’s sister and sometime rival for Rivera’s affection.”

Joe Law, Opera News

 Emma in What Gets Kept with Washington National Opera

“Lawrence, the husband, was upstaged by the fine soprano Jennifer Cherest, not a Domingo-Cafritz singer, as Amy’s wise-cracking daughter, Emma.”

Charles T. Downey, Classical Voice North America

Sandrina in La Finta Giardiniera at the Merola Opera Program

“Soprano Jennifer Cherest was consistently impressive as the radiant, resilient Sandrina”

Georgia Rowe, San Francisco Classical Voice

Bernstein Festival with the Columbus Symphony

"After a lively rendition of the Overture, soprano Jennifer Cherest was a delightfully over-the-top Cunegonde in “Glitter and Be Gay,” taking her act mid-aria off the stage and to the theater’s ground floor and, once back onstage, removing jewelry from some of the orchestra’s women musicians while singing."

 Jennifer Hambrick, The Columbus Dispatch

Zerlina in Don Giovanni with North Carolina Opera

"Ms. Jennifer Cherest was a great surprise with an incredibly good Zerlina. She was definitely one of the best assets of this performance. Her chemistry with Masetto was uncanny and she conveyed perfectly the character’s flirtatious liveliness, and her singing was well modulated.

She was helped by another great performance by Mr. David Weigel as Masetto. The couple stole the show whenever they were on stage”

Luiz Gazzola (Almaviva), OperaLively.com

Zerlina in Don Giovanni with North Carolina Opera

“She joined with Giovanni in a seductive account of the famous duettino ‘Là ci darem la mano,’ and she was the rare Zerlina who made something both touching and amusing of the aria ‘Batti, batti, o bel Masetto,’ her technique little challenged by the coloratura and ascent to top B. In Act Two, Ms. Cherest impressed both in ensembles and in her bright-toned singing of ‘Vedrai, carino.’ Her chemistry with Mr. Weigel was endearing, and it was fantastic to hear a voice more substantial than the usual airy (and air-headed) soubrette in Zerlina’s music.”

Voix-des-arts.com

Clorinda in Cenerentola with Opera Delaware

“The remaining cast members were nothing short of excellent. Soprano Jennifer Cherest and mezzo-soprano Alexandra Rodrick played the stepsisters Clorinda and Tisbe respectively with clown-like wit and agility.”

Christine Facciolo, Newsworks

Twisted - A Trio of Excellence

“It was the Met Opera-like quality singing of Opera Columbus’ Jennifer Cherest in Delibes’ “Viens, Mallika,…Dõme épais le jasmin” from Lakmé  that cemented the program as one for the ages.”

Steve Sucato, Arts Air

Merola Grand Finale

“Where to begin in enumerating the evening’s riches? Perhaps with soprano Jennifer Cherest, if only because she got so much stage time and used it so superbly – first in a crystalline duet with tenor Andrew Stenson from Lehár’s “Merry Widow,” then in a beautifully expressive and technically polished aria from Handel’s “Alcina.”

Joshua Kosman, San Francisco Chronicle

“Next, Cherest joined Mulligan and the ASO for three operatic numbers: “Caro nome” from Verdi’s Rigoletto, “Deh, vieni non tardar” from Mozart’s The Marriage of Figaro, and “Una voce poco fa” from Rossini’s The Barber of Seville. Cherest has a lovely, fluid and flexible voice that made these three selections glow.”

Atlanta Symphony Orchestra

Mark Gresham, EarRelevant