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"The star of the evening was mezzo-soprano Janice Meyerson, a phenomenal artist of extraordinary expressive subtlety."
(Boston Globe, Verdi Requiem)
"Mezzo Janice Meyerson, who undoubtedly had the largest voice on the stage, handled the only major pants role in Wagner with ease…not only with her voice but with her acting….Her Ortrud must be astonishing." (Newark Star-Ledger, Adriano in Rienzi)
"The American mezzo Janice Meyerson offers a fierce and powerful Adriano." (Le Soir, Adriano in Rienzi, Antwerp)
"Janice Meyerson tackled the killer-mezzo role of her travesti lover with consistently warm tone." (The London Times, Adriano in Rienzi, London)
"As sung by Meyerson, this was a terrific performance. She has a voice used with intelligence to exploit its power, shading, and range. She colors her voice according to the text, making her, without makeup or costume, a remarkable singing actress…moving and utterly convincing in the integrity of her performance." (Denver Post, Mahler, Lieder eines fahrenden Gesellen)
"It was good to have mezzo-soprano Janice Meyerson back in our midst. If Boston had any kind of orderly operatic life, she would have been one of our most valuable house singers. As it is, she has sung the great mezzo roles elsewhere, and made only rare visits back to the city where she was trained. She brought many qualities to the folk songs—an inherently dramatic presence; a darkly glamorous voice under excellent technical control; and the ability to put over the sense of each song." (Richard Dyer, Boston Globe, Berio Folk Songs)
"For the Night to Wear and Les Mains are expertly sung by mezzo Janice Meyerson, whose diction and dramatic inflection, notably in the former, seem ideal." (Fanfare: The Magazine for Serious Record Collectors, CD of Donald Harris)
"American mezzo Janice Meyerson impressed in her Act 3 aria in the trouser role of Adriano." (Opera magazine, Adriano in Rienzi, London)
"Janice Meyerson threw herself into the part of Eboli with the impetuousness of an Agnes Baltsa. Like her, she is more concerned with dramatic identification than with just beautiful singing. That came out particularly in her strikingly powerful ‘O don fatale.’." (Opera magazine, Don Carlo)
"Janice Meyerson as Eboli, with her blazing aria of despair, was one of the vocal high points of the evening." (NRZ, Germany, Don Carlo)
"Janice Meyerson is visually ideal and vocally captivating as Eboli." (Oper und Konzert, Germany, Don Carlo)
"Janice Meyerson has abundant resources, metallic timbre and the right temperament for Amneris." (Clarin, Buenos Aires, Aida)
"Janice Meyerson is indeed an estimable mezzo....She faced with elegance and bravery the tremendous first scene of the final act." (La Nación, Buenos Aires, Aida)
"From the opening phrases of Berlioz’s ‘Villanelle,’ three aspects of Ms. Meyerson’s singing emerged…the lush, dark richness of her sound…her penetration of the texts with resulting communication of emotional content…the tone excitingly round and unforced….Roles such as Carmen, Amneris, and Santuzza may have a new champion." (Atlanta Constitution, recital)
"Janice Meyerson made a seductive, dark-voiced Carmen. She was at her best in the ‘Air des Cartes,’ which she built in one long phrase of snowballing intensity." (New York Times, Carmen, New York City Opera)
"Janice Meyerson, whose gloriously dark-hued voice does wonders with Carmen’s Habanera and Seguedille." (Denver Post, Carmen)
"Of the principals, only Janice Meyerson as Herodias was consistently capable of projecting above the orchestra’s crescendos, her mezzo slicing through with appropriate edge." (Musical America, Salome)
"Janice Meyerson shows that in Janácek, it is the vocal credibility of the character that is important….Her bright, soaring mezzo-soprano does not miss any opportunity for lustrous tone." (Hessische Allgemeine, Kostelnicka in Jenufa)
"Janice Meyerson performed her role [Phaedra] with enchanting vividness and almost veristic acting." (Opera magazine, Hippolyte et Aricie)
"[Meyerson’s] voice is beautiful, with wide coloric and expressive range, technical security and beauty of tone from the resonant chest tones to the bright, clear top." (Bridgeport Post, Santuzza, New York City Opera)
"Janice Meyerson…[sang Ulrica], producing big Italianate chest tones that didn’t compromise her access to formidable top notes; she has a genuine theater voice, temperament, and presence." (Boston Globe, Un Ballo in Maschera)
"Meyerson’s voice was deep dark velvet, befitting a gypsy fortuneteller….[As Ulrica,] she creates a lasting impression with her exotic looks and unique voice." (Gauntlet, Calgary, Un Ballo in Maschera)
"Of the vocal soloists, Janice Meyerson struck most deeply into the music in a poised and breathtakingly restrained ‘Agnus Dei.’." (Fort Wayne News-Sentinel, Bach, Mass in b)
"the attractive Preziosilla of Janice Meyerson with beautiful mezzo sound." (Orpheus magazine, Germany, La Forza del Destino)
"Janice Meyerson sang Judith strongly, with fresh tone and lots of dramatic sense." (Village Voice, New York, Bluebeard’s Castle)
"The one soloist who was stunning was mezzo-soprano Janice Meyerson, who has a rich, plummy, and communicative voice. In ensemble, she carefully gauged herself to blend with her colleagues, but when let loose on a solo, her singing rang through the long nave of the cathedral with grand authority." (Times Record, Albany, Verdi Requiem)
"Best of all was mezzo-soprano Janice Meyerson in the engagingly human ‘trouser’ role of Prince Cyrus." (Milwaukee Sentinel, Handel’s Belshazzar)
"especially Janice Meyerson’s bronzed alto singing of ‘What Lips My Lips Have Kissed.’." (Village Voice, Bernstein’s Songfest, Tanglewood)
"the mezzo Janice Meyerson being especially fine." (Musical Times, London, Bernstein’s Songfest, London Proms)
"Janice Meyerson’s exquisite singing of ‘Music I Heard with You’ from ‘Songfest.’ " (New York Daily News, Bernstein memorial service, New York)
"Mezzo-soprano Janice Meyerson sang her warning to the world of man in the fourth movement in rich, warm sounds." (New York Times, Mahler 3rd Symphony)
"Janice Meyerson, who sang Nietzsche’s midnight poem, has one of those rich altos that just pour out effortlessly, and she sings words and music beautifully. A lovely job." (Boston Globe, Mahler 3rd Symphony)
"The contralto soloist, Janice Meyerson, is an expressive singer with that non-too-common asset, an effortless low register." (Christian Science Monitor, Mahler 3rd Symphony)
"Janice Meyerson belted out a verismo aria with a youthful strength that filled the house and would do Santuzza proud." (New York Times, Old Woman in de Banfield’s Lord Byron’s Love Letter)
"a superb portrayal." (Washington Post, de Banfield’s Lord Byron’s Love Letter)
"Miss Meyerson’s dark, burnished vocal sounds, often achieving the depths and highlights of polished mahogany, expressed perfectly the varying moods of these delicate lyric poems. The artistry and feeling of conviction in her performance were evident without being effusive." (Omaha World-Herald, Das Lied von der Erde)
"Mezzo-soprano Janice Meyerson was the feral, deeply involved soloist in the final ‘Lamentation.’ She is obviously a singer to watch." (New York Daily News, Jeremiah Symphony, New York Philharmonic)
"Miss Meyerson sang Brangaene’s warnings in a voice that was dark velvet." (Philadelphia Inquirer, Tristan und Isolde)
"Meyerson delivered Brangaene’s warning with a wonderfully vibrant and free sound, with beautifully managed decrescendos on the top notes." (Boston Globe, Tristan und Isolde)
"There was a handsomely horrible account of the unspeakable mother from Janice Meyerson." (Opera Now, Kabanicha in Katja Kabanova)
"The cast provides good support, particularly from Janice Meyerson, who icily portrays the relentless cruelty of Katja's mother-in-law." (Dublin Evening Herald, Kabanicha in Katja
Kabanova)
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