Every time she appears on stage, Jennifer O'Loughlin triggers stormy reactions of enthusiasm in the audience and rave reviews. Here's another review, about her Sonnambula at the close of last season:

„The role of Sonnambula is a quintessential role for every lyric coloratura soprano, and Jennifer O‘Loughlin has embodied the role like few other sopranos. She shines with breathtaking coloratura and dramatic top notes that are clean and clear even at a glass-breaking height, only to plunge back into an enchanting piano. Her great prayer and the aria "Ah! se una volta solo… Gran Dio… Non credea mirarti", in which she forgives Elvino while sleep walking in the second act, can hardly be surpassed in terms of beauty and emotional depth. The sleepwalker‘s acting performance is also stupendous. Superlatives and comparisons with the great singers in the field don’t really serve a purpose. But after this performance, it simply has to be said. The great Edita Gruberova has been described as the „high priestess of belcanto“, and O‘Loughlin is the „queen of belcanto“ on this evening, to be mentioned in the same breath as Gruberova. The audience not only cheered after her arias, but also figuratively jumped up from their seats to lay at her feet for her first solo curtain call - something that is rarely seen today. A triumphant success for the likable American, who has been able to call herself a Bavarian Kammersängerin since 2021“ (Andreas H. Hölscher, O-Ton, 03.07.24)

This season Jennifer O’Loughlin will be performing Alcina (title role), Rosalinde (Die Fledermaus), Donna Anna (Don Giovanni) and Adina (L’elisir d’amore) at the Gärtnerplatztheater.

All dates of performances

05.09.24

La sonnambula by Vincenzo Bellini staged by Clarac, Deloeuil > the lab, featuring Lisette Oropesa and John Osborn in the two main roles, recorded live at the Teatro dell'Opera di Roma on 9thApril 2024, is available to stream from on Operavision until November 10, 2024. Link to the stream

 What the press is saying (extracts):

„ Le Lab's guidelines are fundamentally right namely to eliminate the cloying idyll of the village nestled in the mountains and instead accentuate the brilliant ‘dramma giocoso’ aspects on the one hand and the delicate, melancholic ones typically Bellini's on the other.” (Mauro Mariani, Il giornale della musica, 10.04.2024)

“This choice of staging offers a new dimension to the opera, focusing on a more intimate and psychological interpretation that attempts to create a fascinating visual dialogue.” (Davide Oliviero, GBOpera, 11.04.2024)

“Personally, I was impressed by the intelligence and coherence of this show. From start to finish, it plays on the dimension of dreams and fantasies, adding interest and depth to an extremely thin plot that often feels like it's dragging along. Beyond the superimposition of levels of interpretation and the accumulation of references - I confess to having been moved by echoes of the 1988 production, which I was lucky enough to attend - the story remains that of La sonnambula, but with something nervous and stimulating in its approach, which makes a change from so many languid stagings, saved by high-flying prime donne.” (Richard Martet, Opéra Magazine, May 2024)

“In conclusion, a coherent and well realised stage project, which on the whole works and makes a contribution to the vitality of opera.” (Francesco Arturo Saponaro, musicpaper, 11.04.2024)

Clarac, Deloeuil > the lab's plans in 2024/25 include Ariadne auf Naxos at the Opéra de Rouen Normandie, Rusalka at the Marseille Opera and Martinú's Juliette ou la clé des songes at Opéra de Nice Côte d'azur.

All dates of performances

05.09.24