as Yum-Yum in THE MIKADO

Music Reviews, Jack Neal

"Jane Redding deliciously acts the plum role of the ultra-practical Yum-Yum and manages the show's best singing in a production that sports lots of fine singing."

as Violetta in LA TRAVIATA

-Mobile Press-Register, Thomas Harrison

"No heroine ever died with more nobility, and no victim of love ever walked a trail of tears with more courage than Jane Redding's doomed coutesan, Violetta. Redding possessed the vulnerable beauty, impressive vocal chops and the stamina required for the role, although it is a stretch to see this extraordinary woman as a victim of anything. Her luminous complexion and bright smile belie illness. Redding's duets in separate scenes...are pure operatic gold."

as Soprano soloist in CARMINA BURANA

- Charleston Post and Courier, Jeff Johnson

"Jane Redding uses her clear soprano voice to give dramatic life to a variety of young ladies who are to immature to distinguish between carnal lust and spiritual love. Her diction was perfect, her dramatic involvement was evident, and her high notes soared to the back of the auditorium."

as Musetta in LA BOHEME

-San Antonio Express-News

The supporting cast was the deepest and strongest in this company's history. Soprano Jane Redding was a superb Musetta, spunky and brilliant in the Cafe Momus gathering, warm and sympathetic in the finale. Baritone Levi Hernandez was a powerful, focused and honeyed Marcello. Both knew how to let the text shape the rhythms without losing sight of the music.

as Tytania in A MIDSUMMER NIGHT'S DREAM

-Des Moines Register

Into this dream-like scene enter Jane Redding as Tytania and Randall Soctting as Oberon, the queen and king of the fairies, whose shimmery costumes make them look anything but human...It's their voices, though, that complete the otherworldly effect. Redding's soprano and Scotting's countertenor are crystal clear and well matched for their quarrelsome opening duet. While other singers might sound shrill, they power through with rich tone, and his range climbs nearly as high as hers.

as Soprano soloist in CARMINA BURANA

- The Hartford Courant

"This ovation was in no small part due to excellent vocal solists. Soprano Jane Redding appeared on a platform set at the highest section of the risers where the lighting made her appear, as well as sound, celestial. From the center section of 'Amor volat undique,' where she spun a rich dark sound, to an arching and lyrical 'In trutina,' to the coloratura 'Dulcissime,' where perfect intonation, support and intensity set the music tumbling toward the final two movements, Redding was both versatile and inspired."

in the title role of LUCIA DI LAMMERMOOR

- New Orleans Times Picayune

"In the title role, soprano Jane Redding provided a compelling center to the piece in a splendid performance. Through the florid ornamentations, coloratura leaps and bounds and a pleasing string of high notes, Redding tackled the broad range of the part with agility and verve. But a Lucia cannot be judged solely by the method of her madness. Redding's rendering of 'Regnava nel silenzio,' to cite one example, her first-act aria relating the legend of the Ravenswood curse was hauntingly beautiful and delicately sculpted. As a singing actress, Redding also made all the right moves - small gestures rather than grand. As this Lucia went off the edge, she didn't go over the top. The rest of the cast provided ample, generally pleasing support to Redding's performance. (Make no mistake about it this opera belongs to the soprano.)...Redding's voice and acting made the production soar..."

as Poppea in AGRIPPINA

- Virginia Gazette

"As Poppea, the main love interest, Jane Redding is spectacular, her characterization wonderfully etched, her sense of comic timing faultless. Her singing is of the sort that needs to grace mainstage opera houses globally. She's primed for the big time."

as Liu in TURANDOT

- The Grand Rapids Press

"In a true Puccini role - the slave, Liu, Jane Redding sang with sweet anguish of her unrequitted love before taking her own life. Her singing couldn't melt Turandot's heart, but it melted everyone else's."

in the title role of LUCIA DI LAMMERMOOR

- The Tennessean

“To sum up: Lucia went crazy, and Nashville went crazy for Lucia...this was a creative, textured, subtle offering that produced abundant highlights. Chief among them, certainly, was the riveting Nashville debut of knockout soprano Jane Redding in the title role. This rising star delivered a staggering, at times mesmerizing, performance as the tormented lover in this three-act Italian masterpiece from 1835. Especially in her celebrated ‘mad scene’ in the third act, but elsewhere also, Redding unleashed a remarkably fluent yet powerful voice that filled the cavernous auditorium with what seemed great ease. That ‘mad scene’ was really something. Clad in a blood-spattered dress, wandering aimlessly into a grand ballroom packed with revelers gathered for her wedding, Redding’s Lucia in deepest delirium served up some of the most delicious singing yet heard from that stage. It was so enchanting, so visually seductive, that it was almost scary.”

as Marie in THE DAUGHTER OF THE REGIMENT

- The Knoxville News Sentinel

“No matter where she found herself, Jane Redding, singing the nonstop role of Marie, the orphan at the center of everything, lit up the stage with what may well be some of the best singing heard in any recent Knoxville Opera production. As the centerpiece of this year’s Rossini Festival, ‘The Daughter of the Regiment’ certainly got its money’s worth from Redding’s warm, clear voice that did not seem to have any discernible top or bottom that might have weakened her performance. When she wasn’t dominating the stage, the acoustics were...a nicely utilized set, effective staging, and generally solid cast turned what could have been a ho-hum, mediocre piece of theater, into a treat of delightful singing. If great singing is the deciding factor of whether to take in an opera this weekend, don’t miss the chance to hear Redding. Given a voice like that, she may well be headed to places that will price her out of coming this way again.”

as Rosina in IL BARBIERE DI SIVIGLIA

- Washington Post
“Redding was both tough and vulnerable, as the role the requires, and she negotiated coloratura passages with ease.”

- The Virginian-Pilot
“Redding was able to negotiate Rossini’s coloratura lines with extraordinary brilliance. The many high notes she added to the score included two stunning high F’s which she delivered with confidence. She could sparkle throughout her wide range with the youthful glee that took Rosina out of her restricted environment.”

- Richmond Times-Dispatch
“She has a bell-like voice, but great power in the upper register and can hit some of those impossibly high notes, like a high K or something!”

- Grand Rapids Press
“Jane Redding’s Rosina was a thoroughly modern woman who took no nonsense from anyone. Her supple coloratura soprano was breathtaking from the opening aria, ‘Una voce poco fa,’ with beautifully executed arpeggios and stratospheric high notes that led to gasps among the audience... Her ‘music lesson’ was bel canto singing at its best.”

- San Antonio Express
“Lyric Opera of San Antonio’s production of ‘The Barber of Seville’ promised the relative novelty of a soprano Rosina - and delivered the rarer novelty of a superb one named Jane Redding. Figaro, the freelance, all-purpose go-to guy, may be the title character, but more of the musical weight in Gioacchino Rossini’s comic opera is carried by Rosina...In Lyric's production, William McCrary’s stage direction was consistent only in its superficiality, but Redding's gumption transcended the light comedy usually associated with soprano Rosinas. Her instrument wasluxurious in the middle, gleaming on top, agile and dead-accurate throughout. Herembellishments delighted, she made fine use of vocal color for dramatic point, and she moved well. Though she’s been working at regional companies, Redding is clearly ready for prime time. Lyric ought to sign her for some future productions before her fees go through the roof.”

as Zerbinetta in ARIADNE AUF NAXOS

- Des Moines Register
"Soprano Jane Redding can only be described as brilliant, running off cascades of coloratura phrases with such apparent ease that only the stratospheric heights of the tessitura betray the difficulties of such passages. Her vivacious and sometimes poignant portrayal of Zerbinetta makes it difficult to imagine anyone playing the role with more distinction."

- Opera News Online
“The clash of high and low art was further accentuated by the spry attractiveness of the comedians (especially the powerhouse Zerbinetta of Jane Redding) and the stodgy solemnity of the tragedians...Although the commedia dell’arte troupe brought welcome relief (Redding’s superbly sung Zerbinetta was supported by Travis Richter, Marc Schreiner, Frank Hampton, and Marcus DeLoach’s excellent Harlekin), Larsen and his estimable orchestra could not bring Ariadne itself into equal focus...A local fire marshal having nixed the intended fireworks, lighting designer Barry J. Steele substituted a gorgeous twilight, with twinkling lights providing an enchanting finale.”

-Opera Now
"One singer stood out from the ensemble: Soprano Jane Redding, a pert bundle of Straussian felicity as Zerbinetta. She turned the stage into her own private singles-bar while tossing off the most death-defying, high-wire coloratura feats with disarming agility, accuracy and verbal point."

as Gilda in RIGOLETTO

- Nevada Events - Music Reviews
“As Gilda, soprano Jane Redding sings as beautifully as she looks and she’s gorgeous. Redding has lustrous sound and a gift for making each phrase a special moment to cherish. From the first show of Gilda’s love for her father, to her last selfless sacrifice for the man she loves, Redding gives a spellbinding performance. Her ‘Caro nome’ is musically divine and spectacularly executed.”

- Washington Post
“Jane Redding’s Gilda possessed youthful idealism, limpid tone, and remarkable vocal agility.” - The Des Moines Register "As the naive and love struck heroine, Gilda, soprano Jane Redding comes across as the essence of innocence. She sings with a beauty that matches her countenance." - The Albuquerque News Journal Jane Redding as Gilda, daughter of Rigoletto, is frankly just what a coloratura is all about. Her 'Caro nome' (Beloved name), one of the standards of soprano literature, sparkles with brilliant, flawless singing, just a joy to hear.

as Norina in DON PASQUALE

- Sante Fe New Mexican
“She soared and trilled as the sly Norina, her easy top notes and fast, fluent scales defining the quintessential soubrette role, honey with a hint of acid.”

- Natchez Democrat
“...she is a first-round knock-out. Her voice dances as well as convinces. She has a finely-nurtured gift and it is a joy to watch and hear.”

as Adina in L’ELISIR D’AMORE

- Nevada Events - Music Reviews

“Soprano Jane Redding is a sublime Adina. She has a golden tone, marvelous technique, oodles of presence, and has the star power to climb the ladder of major-singing success.”

as the Queen of the Night in THE MAGIC FLUTE

- Opera News

“...she certainly had all the high notes in her vocal arsenal. The five high F’s in ‘Der Hölle Rache’ were taken in stride, as was the same aria's tricky triplet passage...she sang well and her performance was impressive technically.”

as Zerlina in DON GIOVANNI

- Arts and Amusements / New Orleans

“As Zerlina, Jane Redding stole the show every time she sang. Along with Christopher Schaldenbrand’s Giovanni, she was the best of a bright cast, both demure and seductive in her acting and ravishing in her lovely, full soprano.”

as Cunegonde in CANDIDE

- Des Moines Register

“The exceptional performance of soprano Jane Redding saves this production from tedium. Redding dazzles us with the great technical and dramatic demands made of her, especially in the sparkling aria ‘Glitter and Be Gay.’”

as Musetta in LA BOHÈME

- Mobile Register

“...the standouts in this cast were Andrew Krikawa as the painter Marcello and Jane Redding as the flirty, headstrong Musetta, his former lover. Krikawa possesses a baritone of impressive range and power; Redding, a coloratura, was a wonderfully coquettish Musetta.”

as Blondie in P.D.Q. Bach’s THE ABDUCTION OF FIGARO

- New Orleans Times Picayune

“...her aria was a show stopper.”