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Jennifer Casey Cabot, Soprano
In a stellar career which grows in magnitude with every role, soprano Jennifer Casey Cabot continues to garner rave reviews from both audiences and critics alike. Following recent performances as Konstanze in Die Entführung aus dem Serail the Washington Post writes, "Cabot's singing merged pathos and focus with a gleaming top range" and Opera News praised "her full, silky soprano," calling it "tender" and "startlingly defiant."

In the 2007-08 season, Jennifer Casey Cabot joins the roster of the Metropolitan Opera for their production of Le nozze di Figaro and returns to the National Symphony Orchestra as soloist in Messiah. She also appears in a recital for Yale University at Carnegie's Weill Hall featuring music by Charles Ives. In 2008-09 she returns to San Diego Opera as Ellen Orford in Peter Grimes. Her 2006-07 season included performances of Konstanze in Die Entführung aus dem Serail with Florida Grand Opera, Countess in Le nozze di Figaro at Boston Lyric Opera, and Violetta in La traviata in a return to Central City Opera.

Ms. Cabot's career highlights include performances of well known Mozart, Puccini, and Verdi heroines on leading stages throughout the country. Before returning to Boston Lyric Opera last season as the Countess, she appeared with the company as both Konstanze and as Fiordiligi in Così fan tutte. She has performed the roles of Konstanze, Countess, Violetta, and Don Giovanni's Donna Elvira at the Washington National Opera and, following her debut at New York City Opera as Donna Elvira, she returned to NYCO to perform Violetta and the role of Musetta in La bohème. She has also joined San Diego Opera to portray Fiordiligi, Donna Elvira, and the role of Pamina in Die Zauberflöte, also performing the latter two roles with Arizona Opera.

Other operatic credits include the roles of Mimi in La bohème and Leila in Les Pêcheurs de perles with Calgary Opera, the title roles in Manon with Piedmont Opera and Susannah with Kentucky Opera, Alma in Hoiby's Summer and Smoke with Central City Opera, and the role of Margaret Elliot in the world premiere of Willa Cather's Eric Hermannson's Soul with Opera Omaha. She has performed the role of Violetta at the Opera Company of Philadelphia, the Opera Company of North Carolina, and the Utah Festival Opera and made her debut with Vancouver Opera in the role of Fiordiligi.

Ms. Cabot's concert repertoire includes performances of Beethoven's Symphony No. 9, Mahler's Symphonies No. 4 and No. 8, and Mozart's Exsultate, Jubilate, among others. Recently, Ms. Cabot performed the role of Konstanze in a concert version of Die Entführung aus dem Serail with the National Symphony Orchestra under Leonard Slatkin. Ms. Cabot has performed in concert with the Megaron Orchestra at the Athens Concert Hall as First Lady in Die Zauberflöte under Sir Neville Marriner, the Masterwork Chorale in Mozart's Mass in C Minor, and has appeared in a New Years' Eve gala concert and an all-Mozart program with the Saint Louis Symphony. She has also sung Strauss's Four Last Songs and Villa-Lobos's Bachianas Brasileiras, both with the Norwalk Symphony.

In Europe, Ms. Cabot was a resident soloist at Deutsche Oper Berlin and Staatstheater Braunschweig, as well as a guest artist in Bern and at Dresden Semperoper. She recently returned to Germany for a concert of arias and duets with Placido Domingo, the success of which led to a gala concert with Mr. Domingo in Japan.

A New York native, Ms. Casey Cabot studies with Doris Yarick-Cross. She holds both Bachelor of Music and Bachelor of Arts degrees from Oberlin College, as well as a master's degree from the Yale School of Music.

Jennifer Casey Cabot
                  (Photo credit: Sasha Vasiljev)

 
Music Icon Mozart: Le nozze de Figaro "Dove Sono"
Music Icon

Strauss: Vier letzte Lieder
Beim Schlafengehen

Jennifer Casey Cabot
                  (Photo credit: Sasha Vasiljev)


"As Violetta, CCO veteran Jennifer Casey Cabot evoked utmost understanding of her pilloried character, posing just the right extent of pathos. Her smooth and sinuous soprano soared effortlessly through even the most ornate passages. Cabot revealed not only the vulnerability of the terminally ill, emotionally wounded Violetta but also her prevailing dignity and strength of sacrifice in love's name. The depth of Violetta's persona was perhaps most poignantly rendered in Cabot's stirring self-reflection on the intensity of true love opposite more carefree contentment." [LA TRAVIATA - Central City Opera]
— Sabine Kortals, Denver Post

 

"Jennifer Casey Cabot brought her arresting, angelic tone to the part of Constanze, who courageously fends off the advances of the pining Pasha. Cabot's singing merged pathos and focus with a gleaming top range." [ABDUCTION, K.384 - National Symphony Orchestra]
— Daniel Ginsberg, Washington Post