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Jennifer Panara, mezzo-soprano with photography by Anna Barbera


The Time of Our Singing with Theater St. Gallen


"[Lisette's] skills are beyond question, aptly portrayed by Jennifer Panara's flawlessly executed vocalises. 

- Herbert Büttiker, RoccoSound, 2023

"Jennifer Panara sings Lisette Soer with aplomb."

- Jan Kobot, Online Merker, 2023

Die Fledermaus with Theater St. Gallen


"Jennifer Panara also makes a powerful impression in the male role of the bored Prince Orlofsky. [...] She took control of the ball scenes splendidly, almost like a lion tamer, but in any case as a self-confident master of ceremonies."

- Martin Preisser, Tagblatt, 2022

"The roles are superbly cast, with the acting and singing at a high level. [...] Theresa Steinbach as Adele and Jennifer Panara in the male role of the bored Prince Orlofsky are likewise enchanting."

- Andreas Marte, Vorarlberg Online, 2022

"Jennifer Panara lends her seductive mezzo-soprano voice to Prince Orlofsky."

- Jan Krobot, Online Merker, 2022

L'amant anonyme with Theater St. Gallen


"Jennifer Panara (Jeannette) also made a positive impression with her bright, elegantly spun mezzo-soprano voice."

- Thomas Baltensweiler, Das Opernglas, 2022

"Jennifer Panara and Christopher Sokolowski are winning as the charming young couple Jeannette and Colin."

- Herbert Büttiker, RoccoSound, 2022

"Jennifer Panara as Jeannette and Christopher Sokolowski as Colin were also convincing and ably enthralled the audience."

- Michel Bossart, Die Ostschweiz, 2022

Breaking the Waves with Theater St. Gallen


"There is also [Bess's] sister-in-law Dodo, who stands by her in difficult situations. Jennifer Panara sings this rewarding role with a warm and engaging mezzo-soprano timbre."

- Kaspar Sannemann, Oper Aktuell, 2021

"Lyric mezzo-soprano Jennifer Panara (Dodo) offers a well-rounded tone."

- Thomas Baltensweiler, Das Opernglas, 2021

"Clear-voiced mezzo-soprano Jennifer Panara as Dodo expresses her sisterly love for Bess with her gentle, heartfelt singing."

- Bernd Feuchtner,, 2021

"With great tonal beauty, Jennifer Panara and Claude Eichenberger draw distinguished portraits of Dodo McNeill and Bess's Mother."

- Bettina Kugler, Tagblatt, 2021

Florencia en el Amazonas with Theater St. Gallen


"The singers’ voices contributed to the performance’s positive impression. […] Jennifer Panara (Paula) offers a refined, flexible mezzo-soprano.”

- Thomas Baltensweiler, Das Opernglas, 2021

Giulio Cesare in Egitto with Theater St. Gallen


"With her warm, flowing mezzo voice, Jennifer Panara sang an excellent Sesto, at each moment convincingly conveying grief as well as the desire to avenge the death of Sesto's father, Pompeo."

- Marco Ziegler, Opera Gazet, 2020

"Jennifer Panara powerfully conveys the hot-headed desire for revenge within Sesto, the son of Pompeo, making 'Svegliatevi nel core' the highlight of the arias intended for her role by Handel."

- Jan Krobot, Online Merker, 2020

"Tearful arias follow, as well as horrors [and] plans for revenge, sung by Jennifer Panara with a great deal of vocal charm."

- Bettina Kugler, Tagblatt, 2020

"The tragic mother-son pair (Sonja Runje as Cornelia and Jennifer Panara as Sesto) are also ideally cast. The composer wrote one of the opera's rare duets for them at the very moment when they are torn apart. 'Son nata a lagrimar, son nato a sospirar': lost in the grove of columns on-stage, far away from each other and yet musically one, we experienced at the end of the first long act a moment in which all staging ideas become superfluous and one stands alone with only himself and his voice."

- Peter Surber,, 2020

"The wonderful duet for female voices is sung by Sonja Runje as Cornelia and Jennifer Panara as Sesto with great tonal beauty."

- Herbert Büttiker, RoccoSound, 2020

Commedia with Sinfonieorchester St. Gallen


"In both her appearance and vocals, mezzo-soprano Jennifer Panara feels at home on Broadway. She does not need a large stage to present a fantastic scene as a statue come to life in the song "I'm a Stranger Here Myself", inspiring us to look forward to the new opera season with excitement."

- Bettina Kugler, Tagblatt, 2020

Cendrillon with Theater St. Gallen

"The singers obviously take great enjoyment in cavorting on stage in their decked-out attire, and - at long, long last - to be able to sing again. [...] Jennifer Panara proved her strong stage presence and versatility throughout the entire season, and this is the cherry on top."

- Bettina Kugler, Tagblatt, 2020

La belle Hélène with Theater St. Gallen

"Jennifer Panara, visually a relative of Conchita Wurst, perfectly delivers Oreste's youthful arrogance in her demeanor. In addition, she possesses a beautiful, bright mezzo voice."

- Jan Krobot, Online Merker, 2019

Faust with Theater St. Gallen

"St. Gallen, more than anywhere else, believes in showcasing the brilliance of beautiful voices. Now, with their new production of Gouod's Faust, the house has even outdone itself - and certainly some other larger theaters, as well. Read on for our report on their top-notch cast, in any case at the premiere. [...] The supporting roles are fully realized through their interpreters' quality of voice. Jennifer Panara (Siébel) offers a fine, supple mezzo-soprano voice of well-spun flexibility."

- Thomas Baltensweiler, Das Opernglas, 2019

"Two pure souls remain: Marguerite and her adolescent admirer Siébel, whom Jennifer Panara turns into a key role with her fine voice imbued with elegant ease and warmth of heart."

- Bettina Kugler, Tagblatt, 2019

"Jennifer Panara's voice and acting have exactly the youthful freshness and naturalness that suit Siébel to a tee."

- Jan Krobot, Online Merker, 2020

Rusalka with Theater St. Gallen

"Riccardo Botta (Gamekeeper) and Jennifer Panara (Kitchen Boy) take the audience by storm as employees at the lobby bar, fiercely flirting with each other and boozing it up - dazzling, slyly comedic, and vocally lively."

- Bettina Kugler, Tagblatt, 2019

"Riccardo Botta and Jennifer Panara deliver superlative comedy as the catering director (in lieu of the gamekeeper) and his waitress."

- Werner M. Gribbel, Frankfurter Allgemeine Zeitung, 2019

"Riccardo Botta and Jennifer Panara are delightfully provocative and mischievous as the Gamekeeper and Kitchen Boy."

- Herbert Büttiker, RoccoSound, 2019

Märchen im Grand-Hotel with Staatstheater Mainz

"The penniless Spanish princess, Infantin Isabella, was perfectly portrayed in Mainz by Jennifer Panara, immediately creating a very believable character together with a powerful voice. Like all the rest of the cast, she was obviously having fun, and her sense of fun was infectious."

- John Groves, Operetta Research Center, 2019

"There is an extremely playful ensemble consisting of opera singers, musical performers, and actors. But the divisions dissolve: every character dances, sings, and speaks first-class dialogue. [...] Jennifer Panara sings Infantin Isabella with an ample, well-controlled voice of a diva. Serious and unapproachable, she portrays the 'Princess and the Pea', who must be groveled to and buttered up in an enormously persistent way until she finally falls head-over-heels."

- Christian Konz, Online Merker, 2019

"Jennifer Panara as the Spanish Infantin Isabella strikes precisely the elevated, lofty tone, which Abraham had in mind for his parody of arrogant absurdity of rank and cases of mistaken identity akin to Die Fledermaus, Die Csárdásfürstin, and Countess Maritza."

- Claus Ambrosius, Rhein-Zeitung, 2018


"Jennifer Panara (a new member of the Ensemble this season at Staatstheater Mainz) embodies the role of the Spanish Infantin Isabella. Whether in duet with her waiter, in the bathtub, or singing the title song ("Märchen im Grand-Hotel") with a melancholic touch, she displays strong stage presence and a resonant voice."

- Markus Gründig,, 2018

"Jennifer Panara endows Infantin Isabella with a lush, round timbre."

- Michael Kaminski, Theater Pur, 2018

"Jennifer Panara as Infantin Isabella and Michael Dahmen in the role of the supposedly destitute waiter, Albert, make a real dream couple, enchanting the enthusiastic audience with velvety voices and a hefty shot of whimsicality."

- Bettina Boyens, Allgemeine-Zeitung, 2018

"Jennifer Panara embodies [Infantin Isabella] with a grand air and sings with a marvelous voice."

- Klaus J. Loderer, OpernLoderer, 2018

Die Liebe zu Drei Orangen with Staatstheater Mainz

"The ensemble shines and lets it all hang out - especially KS Hans-Otto Weiß, Philippe Do, Jennifer Panara and Brett Carter."

- Petra Esser, Wiesbadener, 2019

The Consul with Opera Saratoga

"With a characterful and beautifully knit mezzo, Jennifer Panara—another former company YA—aced the Secretary, the character with the biggest dramatic arc."

- David Shengold, Opera News, 2018

"Mezzo-soprano Jennifer Panara lends exquisite shading and subtlety to the role of Magda’s pivotal foil, the Secretary."

- Charles Geyer, La Scena Musicale, 2018

"Jennifer Panara as the Secretary was icy perfection."

- Rick Perdian, Seen and Heard International, 2018

"[Panara's] is a well-measured performance, one that strikes the right contrast with the unraveling we see from Kasanders. The two are locked in a fatal dance. The Secretary has a brief, unexpected moment of self-awareness in Act Three as she’s closing the office for the day. “All those faces!” she exclaims. “They hang from the ceiling and the walls. They wait for me all day long. They still will be here in the morning, boneless, pale in the dusty sun.” Menotti’s music allows this woman’s guard to slip, and Panara expertly humanizes her in that moment."

- B.A. Nilsson, Words and Music, 2018

The Cunning Little Vixen with Theater Hagen

“Something else that has become typical for Theater Hagen is presenting exciting, new voices. This time, it is Jennifer Panara as the Fox, whose beautifully colored mezzo voice made the love duet with the Vixen a highlight."

- Thomas Hilgemeier, Theater Pur, 2018

"The pair of foxes is enchanting. Dorothea Brandt's bright, lyrically flowing soprano voice is compellingly contrasted by Jennifer Panara with her dusky timbre."

- Christoph Zimmermann, Der Opern Freund, 2018

"The fox pair is excellently cast with Dorothea Brandt as the Vixen and Jennifer Panara as the Fox - both possess young, clear voices, very naturally and authentically produced, and with a powerful, lyrical quality in the love duet."

- Stefan Schmöe, Online Musik Magazin, 2018

"Jennifer Panara was captivating in the trouser role of The Fox."

- Fritz Gerwinn, Deianira: Das Kulturportal, 2018

The Grapes of Wrath with Opera Theatre of Saint Louis

"Mezzo-soprano Jennifer Panara shines in her OTSL debut as Mae, the popular waitress at a truck stop, who sings about the nobility of the 'knights of the road' who tip her generously, while she in turn takes pity on the Joad children."

- Mark Bretz, Ladue News, 2017

"Mezzo-soprano Jennifer Panara was a standout as Mae, the truck stop waitress."

- Sarah Bryan Miller, St. Louis Post-Dispatch, 2017

"Jennifer Panara brings welcome bright humor to us in the role of Mae, the truck-stop waitress. A fine job."

- Steve Callahan, Broadway World, 2017

"A stunning roadside cafe waitress number is performed by Jennifer Panara, in which we see how sympathies toward the desperate migrants change, hearts open, and once again, the poor and working people show themselves to be the most generous toward other folks in bad straits."

- Eric A. Gordon, People's World, 2017

"One of the most effective single moments in the work is a scene set in a truck stop [which] makes a critical point about the Joads' journey and the way grace can emerge in the most unlikely of contexts. Equally important, this scene gives mezzo Jennifer Panara the chance to show off her voice and strut her stuff."

- Sarah Boslaugh, Playback STL, 2017

"The waitress Mae has the most musical comedy-like aria with her humorous commentary on truckers and tipping, and Jennifer Panara delivered it with panache and a gleaming mezzo."

- James Sohre, Opera Today, 2017

Le nozze di Figaro with North Carolina Opera

"The breathless Act One aria ‘Non so più cosa son, cosa faccio or di fuoco,’ [...] was superlatively sung, the range posing no difficulties for Panara. In Act Two, the nervousness that seized Panara’s Cherubino as he performed the canzone ‘Voi che sapete, che cosa è amor’ for his adored godmother, the Contessa, was at once genuinely funny and touching. [...] Across the full range of the music, Panara’s singing was hearteningly confident, and she was a Cherubino who toyed with the affections, not the nerves."

- Joseph A. Newsome, Voix des Arts, 2017

"All 13 characters had strong, clear voices, allowing the audience to revel in the music’s many beauties without having to forgive any unevenness. [...] As the lust-filled teenager Cherubino, Jennifer Panara delighted the audience with spirited singing and gender-bending role-play."

- Roy C. Dicks, The News & Observer, 2017

Faust with Annapolis Opera

"Panara plays Siebel well – a fresh-faced boy loyal to his friends and eager for love. His short aria (Faites-lui mes âveux) delivering flowers to Marguerite’s home, while remembering Mephistopheles’ curse, brought much applause."

- Charles Green, DC Metro Theater Arts, 2016

The Messiah with Milwaukee Symphony Orchestra

"Panara's warm, focused, fluid mezzo resulted in deeply communicative deliveries of such movements as 'He Was Despised.'"

- Elaine Schmidt, Milwaukee Journal Sentinel, 2015

La traviata with The Santa Fe Opera

"Jennifer Panara was winning as Violetta's friend, Flora."

- James R. Oestreich, The New York Times, 2013

Le comte Ory with The Santa Fe Opera's Apprentice Scenes Showcase

"Jennifer Panara was very impressive as Isolier in the Rossini, and is obviously ready to sing leading roles anywhere."

- Jonathan Pell,, 2013

Amahl and the Night Visitors with Cincinnati Chamber Orchestra

"As Amahl's Mother, Jennifer Panara is a powerful mezzo-soprano, with a voice that is rich, compelling, and when chiding her son, appropriately biting."

- David Lyman, Cincinnati Enquirer, 2013

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