Press

*Most reviews below are translated from original German – original language can be viewed on the  German Press page.

Die Walküre, Wagner (Role: Brünnhilde)

Pacific Opera Victoria, October 12 – 21, 2023

“Maines brought a packed energy, even sparkle to the role of Brünnhilde.” 
– Opera Magazine UK, January 2024, Sylvia L’Écuyer

“…. the (equally) impressive soprano, Jennifer Maines, playing (his daughter) Brünnhilde and looking sportif in a mini-skirt and knee-high boots, played the disobedient Valkyrie with puckish verve. An early scene in which Brünnhilde explains to Siegmund that he must perish was notable for her keening high notes of an unearthly beauty. “
– TImes Colonist, Adrian Chamberlain

“…. Jennifer Maines’ Brünnhilde was so fine. Maines was a boyish and fun-loving warrior, a kind of Wagnerian Cherubino in a soprano range who played well against and with (Mark) Delavan’s Wotan.”
– British Theatre Guide, Keith Dorwick

“…the primary source of the drama was the singing, all of it strongly characterized. Canadian soprano Jennifer Maines, was (… his loving if disobedient daughter Brünnhilde) tender or defiant according to need.”
– Classical Voice North America. Journal of the Music Critics Association of North America, Arthur Kaptainis

DIE PASSAGIERIN, Mieczyslaw Weinberg
(Role: Anna-Lisa Franz)

THE RAPE OF LUCRETIA, Britten (Female Chorus)

RIENZI, Wagner (Adriano)

Pfalztheater Kaiserslautern, Spring 2019

“The secret central character, the young and tumultuous Adriano, who is pulled between his nobility and his conspiratorial father versus his love for Irene, was brilliantly sung and acted by Jennifer Maines with an agile and outstanding stage presence.“
– Wochenblatt Kaiserslautern, Petra Rödler

“The best vocal performance came from Jennifer Maines in the trouser role of Adriano Colonna.  Her agility and dramatic presence accentuated his torment between his love for Irene and loyalty to his family.”
– Die Rheinpfalz Zeitung, Gabor Halasz

Tyrolean State Theater, Innsbruck, Austria (Spring 2018)

“In the trouser role of Adriano was the Canadian singer, Jennifer Maines. She is an excellent singing actress with a powerful and expressive voice, able to convincingly convey the emotional turmoil to which Adriano is subjected. Her Act three aria “Gerechter Gott!” in which he prays for reconciliation between his father and Rienzi, and his anguish over his divided loyalties, was given an electrically charged delivery in which the meaning of every line of the text was captured perfectly. It also acted as a wonderful showcase for her fabulous technique.”
– OPERAWIRE, Alan Neilson

“With the first trouser-role of her career, the much-loved Jennifer Maines enjoyed an immediate and tremendous success. She gave a convincing portrayal of Adriano, torn between his love for Irene and his duty to his father. Her third act aria (very Bellini-like!) was very moving.”
– Online Merker, Dietmar Plattner

“Jennifer Maines, in the trouser-role of Adriano, is very masculine and intense through her expression and credibility.”
– Kronen Zeitung Tirol, Franz Gratl

“Jennifer Maines …emerged as the vocal and theatrical highlight (of the evening)”
– VN Vorarlberger Nachrichten, Miriam Sorko

“Jennifer Maines excels as Adriano. A portrayal of the greatest intensity… driven by the character, making her portrayal absolutely worth experiencing.”
– Oberbayerisches Volksblatt OVB, Markus Thiel

“The vocally challenging (role of the) young hothead Adriano, finds himself caught up in political heat and disunity. Jennifer Maines acts and sings at the highest level, and portrays the most sympathetic figure.”
– Tiroler Tageszeitung, Ursula Strohal

THE CONSUL/DER KONSUL, Menotti (Secretary)

“…very convincing in the role of the Secretary”
– Der Standard, Dorothea Nikolussi-Salzer

“Magnificent in her differentiated use of voice (vocal colours) and complex acting, Jennifer Maines, in the role of the Secretary portrays two souls in one body.”
– Tiroler Tageszeitung, Ursula Strohal

“The Secretary, Jennifer Maines sang the role with vocal excellence and portrayed the ‘evil character’ as a woman with many facets.”
– Kronen Zeitung Tirol, Franz Gratl

“Jennifer Maines shines in her portrayal of the seemingly cold and emotionally distant Secretary, showing us the character’s humanity in the end.”
– Der neue Merker, Dietmar Plattner

“Jennifer Maines communicates the emotional ambiguity of the consulate Secretary believably, with her acting as well as her beautiful sound.”
– Orpheus, Stephan Burianek

LE CID, Massenet (Chimène)

St.Gallen Festspiel

“….in the role of Chimène, dramatic soprano, Jennifer Maines fulfills every desire. In the third act especially she magnificently portrayed the torment between the revenge for her father and the great love she feels for her lover.”
– Thomas Molke, Online Musik Magazin

RUSALKA, Dvořák (Foreign Princess)

“Jennifer Maines expertly portrays the Foreign Princess after being further refined by Wagner’s Venus.” 
– Tiroler Tageszeitung, Ursula Strohal

“The Siren of your dreams personified, the fabulous looking Jennifer Maines sings a flawless portrayal of the rather thankless role of the Foreign Princess.”
– Online Merker, Dietmar Plattner

“Jennifer Maines is a perfectly sinister Foreign Princess.”
– Die Krone, Franz Gratl

TANNHÄUSER, Wagner (Venus)

State Theater Saarbrücken, Pariser Version (2017)

“Venus (Jennifer Maines) opened the relationship with the usual ‘You don’t love me anymore’ , with such a lush soprano that  it made it difficult for her longtime favourite (lover) Tannhäuser (Neal Cooper) to depart from her.”
– Der Neue Merker

“Brilliantly sung from the choir and from the Venus (Jennifer Maines).”
– Tamino Klassikforum

“Also both of the female leading roles, Jennifer Maines as Venus and Susanne Braunsteffer as Elisabeth emobodied their roles with abundant and convincing voices , but also with their dedication and passion.”
– Opus

State Theater, Innsbruck

“Jennifer Maines, as Venus, effortlessly switched through the registers with her magnificent dramatic voice giving an intense portrayal of the seductress, then the wounded, then the enraged woman.”
– Markus Hauser, Tiroler Tageszeitung

“Maines impressive!”
– Franz Gratl, Krone Zeitung

“Once again, Jennifer Maines as Venus, created an impressive role Debut, portraying the goddess of love with much character and drama.”
– Franz Gratl, Krone Zeitung

“…Canadian Jennifer Maines was an extremely sensual and compelling Venus with a secure and blooming high register.”
– Klaus Billand, Online Merker

“Maines (as Venus) triumphs with a rich, blooming dark-timbre soprano with brilliant high notes and excellent diction. Not to mention a sensuous, erotic stage presence…”
– Klaus Billand, Online Merker

“Jennifer Maines, a rich deep throated Venus, sung convincingly, no more so than when her anger at Tannhäuser’s plea to be let free was at full force.”
– Brian Angus, Bachtrack

PARSIFAL, Wagner (Kundry)

“The Canadian mezzo-soprano Jennifer Maines gave a spirited, seductive and enormously versatile embodiment of Kundry. Her vocal strength, in the lower registers as well as secure heights without harshness, is impressive. A superior, flawless performance.“
– Online Merker 6.4.2014, Maria und Johann Jahnas

“Jennifer Maines was one-hundred-percent convincing and vocally cut a fine figure in the tragic role of Kundry.“
– Krone Zeitung 18.02.2014, Franz Gratl

“Jennifer Maines triumphed as Kundry, with great voice and intense dramatic skills.“
– Tiroler Tageszeitung 18.02.2014, U. Strohal

“Jennifer Maines sang a compelling, intensely expressive Kundry.“
– Kurier 18.02.2014, Helmut C. Mayer

“Jennifer Maines, as the enigmatic Kundry, captivates dramatically and vocally, with enormous expressivity.“
– Opernetz.de 18.02.2014, Helmut Christian Mayer

“Jennifer Maines gave a dramatic, highly sensitive performance in her debut as Kundry, mastering the role in excellent voice, with exciting high notes and moving dramatic skill.”
– Bezirks Blätter 16.02.2014, Sieghard Krabichler

LOHENGRIN, Wagner (Ortrud)

“Jennifer Maines, stepping in as Ortrud at the last minute, showed that a compelling performance can be had even with little rehearsal time. She, too, conquered in this difficult role with mighty high notes, excellent diction and above all an enormous stage presence.” (Deutsche Oper am Rhein, Düsseldorf)
– Das Opernglas 3/2014, H. Walter

“The performance which we attended was especially charged one — a singer was jumping into the role of Ortrud with less than a day’s notice. Jennifer Maines, from the Tiroler Landestheater in Innsbruck, was more than present and blending seamlessly into the ensemble and stage direction — the native Canadian brought especially passionate, partly downright burlesque impulses to the performance, which pulled the “local” singers along into a particularly sharp, focused evening.” (Deutsche Oper am Rhein, Theater Duisburg)
– RP ONLINE 3.06.2014

“Jennifer Maines shines as Ortrud, both vocally and dramatically. She colors her soprano voice with seductive radiance and demonic nature in ideal balance. That Innsbruck can cast such an outstanding Ortrud from their Ensemble, speaks volumes for the quality of this theater.”
– Franz Gratl, Kronen Zeitung,
Innsbruck 9.27.2011

“During her past seven years in the Tiroler Landestheater Ensemble, Canadian Jennifer Maines, better known until now as Jennifer Chamandy, has gradually and successfully gone from Lyric Soprano roles to High Dramatic roles.  Vocally, she vigourously embodied the role of Ortrud, with the emotionally charged
Entweihte Götter representing the alluring fascination of evil.”
W. Kutzschbach, Opernglas, November 2011 issue

“As Ortrud, Jennifer Maines and her partner Joachim Seipp as Telramund, stole the show from the two protagonists. Maines sang strikingly in tone and fullness…”
Stadtblatt Innsbruck

“Jennifer Maines makes a perfect opposite and contrast to the Elsa (at Tiroler Landestheater). Maines dramatically sings and plays this partial cross role with her confident stage presence, while never leaving a high note exposed. But she relly gets extremely dangerous every time she sings softly; caressing and manipulating her environment and the characters in it.”
Tobias Hell, Münchener Merkur, 27.9.2011

La Wally, Catalani

“With radiant gleaming soprano, transcending the score with feeling and colourful sound, Jennifer embodied the role perfectly in her interpretation of a self-confident and take-charge young woman. … also in the 3rd act she did not shrink from full dedication of voice and exalted expressivity, that way outshining some of her more famous predecessors.”
Opernglas

“Jennifer Maines enchanted the public in the title role. Always concise and convincing in her expression, always amplifying the message through her attitude, conveying even latent emotions through her voice. A voice that is fully developed, subtly nuanced, beautiful-sounding, of extensive vocal range, and as lyrical as dramatic.”
Opernnetz.de

“Jennifer Maines is an extremely thrilling Wally. With pure and flexible soprano she brilliantly strides through Catalani’s complex role. Word has long gone around the operatic community that Jennifer belongs to the especially elite club of gifted singing actors.”
Der neue Merker Vienna

La fanciulla del West

“The role of Minnie seems to be specifically composed for Jennifer [Maines]. Her resonant soprano is full of character, climbs to triumphal heights and also expresses lyric and heartfelt softness. Like her singing, her acting also conveys an overall credibility. Never mannered, and free from Western stereotypes… assertive, and truly emotive.”
Ursula Strohal, Tiroler Tageszeitung

“Heard in the title role was Jennifer [Maines], who sang the very demanding role of Minnie perfectly. A true verismo soprano who excelled throughout her range. Theatrically, she also has the role wonderfully under control and was extremely convincing.“
Wolfgang Habermann,  Der neue Merker

“Irresistible: Jennifer [Maines]pulls together all of her skills. She impresses with her radiant voice and stunning dramatic representation. A Minnie out of a picture book! …The irresistible Jennifer Chamandy as Minnie, has breathtaking stage presence and is vocally brilliant.”
Kronen Zeitung

Manon Lescaut

“Grandiose was Jennifer [Maines’] expressive and intense representation of Manon. Step by step she develops her Manon, from a young, naive girl, with wonderful vocal charisma and compelling outbreaks. Her enchanting acting (which made the dance scene plausible) together with Fulvio Oberto’s Des Grieux, emphasizes the inherent power of this fabulous production from Alexander Titel (Direction) and Vladimir Arefiev (Set Design and Costumes).”
Ursula Strohal, Tiroler Tageszeitung

Madama Butterfly

“..operagoers are unlikely to soon forget the beautiful voice of Jennifer Maines-Chamandy, a charming young Cio Cio San. Her sound is lush, supple and rounded with a thrillingly open top register.
…perhaps more than any of the sweet sounds that preceded, her compelling rendition of the aria Tu tu piccolo, hints at Maines-Chamandy’s tremendous potential. The aria was shot through with a breathtaking dramatic power; the devastating high notes held aloft by vocal heft as well as pure beauty”
Times Colonist Newspaper – Adrian Chamberlain

“Soprano Jennifer Maines-Chamandy (Cio Cio San) displayed a big, full bodied voice with quite a lovely legato line and shimmering pianissimo. She is also blessed with a strong acting technique, and infused her singing with excitement by taking musical risks to match the drama”
Opera Canada – Paula Citron

Der Fliegende Holländer

“Jennifer [Maines] jugendlich dramatischer Sopran mit sicheren Hoehen hat schoene gedeckte Toene und auch Schaerfen”
Tiroler Tageszeitung

“(that) Canadian soprano Jennifer [Maines] was one hundred percent committed and an attractive, intense actress was no surprise; the unflagging power and accuracy with which she nailed Senta’s treacherous music was, however, revelatory: a Wagnerian soprano is born”
Opera News – Larry L. Lash

“Last year she (Jennifer Maines) took on Senta and proved herself a force of nature with a voice of incredible power, effortless throughout its ranges. This season, her assignments here (Tiroler Landestheater, Innsbruck) include Senta, Salome, Tosca, Graefin Mariza and Anna in the musical ‘The King and I’. Her Santuzza  (Cavalleria Rusticana)– a role usually cast with a mezzo – again showed smoldering, unending high notes, thoughtful pianissimos and phrasing, effortless drops into the depths of the role. I still get goose bumps from her ‘Sono scomunicata!’”
Musical America.com – Larry L. Lash

Les Troyens

“The first one and a half hours belonged, above anyone else, to Jennifer [Maines]. Her outstanding Cassandre not only topped all of her other opera performances here in Innsbruck thus far, but was also on a par with many of the famous singers who have sung the role.”
Wiener Zeitung [translated from German]

“Canadian Jennifer [Maines’] rock solid technique qualifies her as a true Zwischenfach singer- one who finesse both dramatic soprano and high mezzo roles. She was electrifying as Cassandre, showing her pent-up frustration in subtle yet powerful body language, later turning to sorrowful  resignation at the rape of Troy. Chamandy proved herself a riveting storyteller and narrator by painting the text with a diverse palette of colors. It was a performance as notable for its musicality as for its urgency and depth of emotion.”
Musical America Online – Larry L. Lash

Love Counts

“Jennifer [Maines] and Marc Kugel were astounding as Avril and Patsy: vocally perfect (she a full-voiced lyric soprano with a sweet top; he a young basso cantante with rich, velvety tone), they sustained an uninhibited intensity rarely encountered in opera …Their chemistry absolutely explodes into the auditorium, making Love Counts a funny, unforgettable, ultimately moving theatrical experience.”
Opera News