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“Janine has an incredible understanding of the vocal apparatus and a true talent for communicating the subtleties of vocal technique through clear and actionable adjustments. Private coaching from Janine unlocked new dimensions in my voice and gave me confidence in my instrument.”

- Isaac Cole Powell, Broadway’s Once on This Island and West Side Story


“In our lessons together, Janine gave me the tools to explore parts of voice that, for many years before, had felt elusive to me. I left our time together a more versatile singer as well as a more effecting musical storyteller.”

- Briana Middleton, Disney’s Beauty and the Beast Prequel, films

Critical Acclaim

As Carmen in Carmen:
“Janine Hawley placed her stamp on Bizet’s Gypsy at her first entrance, her tough, provocative Carmen providing the sensual centerpiece for the evening . . . she negotiated all the arias with lithe grace, her portrayal gaining in tragic stature as the opera reached its climax.  This riveting Carmen deserved a more compelling José . . .”

- Opera News

“Hawley projects the character’s sensuality and does not hesitate to unleash it, often in graphic terms.  It would be wrong to suggest, however, that Hawley’s Carmen merely titillates.  There is also room for vulnerability in her portrayal of a sensual, strong-willed woman.  The very warm, expressive quality of Hawley’s singing ably complements the efforts of the other leads and the chorus.”  

- The Philadelphia Inquirer

“Janine Hawley triumphed as Carmen.  What remains in the mind was not her flexible voice as a separate entity, but how she used it to assume an unforgettable persona.  None of the famous mezzo-soprano solos became an out of place showpiece.  She was by turns flirty, dominating, and overtly erotic.  What she did with a cigar in Act I by itself gives this production at least a PG-13 rating.”

The Star-Ledger, Newark, NJ

As Isabella in L’Italiana in Algeri:
“But the success of “The Italian Girl” is in large measure due to the excellent cast headed by Janine Hawley in the title role.  Ms. Hawley is captivating in voice, looks and acting talent.  She’s a flirt, she’s a schemer, and she’s just plain smarter than anyone else on stage.  It’s a role that fits her perfectly, and she plays it with ease and panache.”

- WAMC Radio/NPR affiliate in Albany

“Janine Hawley presented an all-purpose soubrette Isabella . . . like Teresa Berganza and Lucia Valentini-Terrani, she conquers by guile.  Hawley has an agreeable, warm mezzo with sufficient fluency to get through the demands of the music; and she has more than sufficient charm to get her way – and get away with it.”

- Richard Dyer, The Boston Globe

As Cherubino in Le Nozze di Figaro:
“Janine Hawley made an eager, musical Cherubino.”

– Will Crutchfield, NY Times


“Janine Hawley . . . sings with line, dynamic variety, charm, and elegance.”

– Richard Dyer, The Boston Globe

“Janine Hawley, superb mezzo soprano, sang Cherubino, the young page boy, beautifully.  Voi che sapete in Act II was stunning and drew bravos . . “

– Springfield Times-Union, MA

As Zia Principessa in Suor Angelica:
“The unyielding abrasiveness of Hawley’s deportment was chilling, yet there were fleeting glimpses of vulnerability beyond the steely facade. The mezzo-soprano delivered ‘Or son due anni’ with emotion that transcended mere indignation, suggesting that the princess was no less acquainted with suffering than her niece. This glimmer of compassion made the character seem all the more terrible, her frigidity unmistakably a choice. Singing powerfully, Hawley depicted teh Zia Principessa as a glamorous but damaged woman rather than a snarling shrew.”


“Angelica’s protagonist, Janine Hawley, plays this role chillingly and was admirably sung, with haughty disdain.”



Other Operatic Reviews:
“Siebel, Marguerite’s other suitor, was fetchingly sung by mezzo-soprano Janine Hawley.”

- The Philadelphia Inquirer

“As Suzuki, Janine Hawley’s strong mezzo blended well with Watanabe in the charming “Cherry Duet.”  She sang with a consistently pleasing tone and proved an accomplished actress as well.”

- The Advocate (Baton-Rouge, LA)

In Concert performances:

“Glories of a different kind came before intermission, when mezzo-soprano Janine Hawley sang the six songs that make up Berlioz’ Les Nuits d’Eté.  Hawley proved an exceptionally astute interpreter.  She didn’t give too much voice too soon, concentrating her resources on the greatest of the six songs, “Sur les Lagunes”.  “My lovely one is dead, I will weep forever,” declares its opening phrases, eliciting from Hawley dark, potent vocal color.  In this single song, she provided a miniature dissertation of how to rip open one’s heart, filling the void with sounds of desolate, unforgettable beauty.”

-Louisville Courier-Journal

“Janine Hawley, an incredibly awesome mezzo, moved us all with a song that came from the innermost realm of the heart.”

– Ma’Ariv, Jerusalem, Israel for Mahler’s 2nd Symphony

“The Seven Early Songs of Alban Berg brought back mezzo-soprano Janine Hawley, welcome in her appearance here four years ago, and even more welcome now in her new maturity and vocal resplendence.  Her voice has grown considerably and darkened slightly, giving it both greater allure and increased poise.  There is no mention of her having studied with a great lieder singer but she herself has become an extremely fine one.  She carries herself with the simple, elegant authority that one needs to command the recital stage.  The timbre of her instrument is luxuriant, with a slight patina of huskiness to give it heightened interest.  What sets her above all but a handful of other women lieder singers of the day, however, is her phrasing, her insightful articulation of the text, the comprehensiveness with which all the elements in a singer’s arsenal are bound together, and that sense of urgency that shakes one’s senses. . . After intermission Hawley returned to sing the extended lyric poem Il Tramonto by Ottorino Respighi.  Hawley’s performance pierced the soul with a beauty that lies beyond the merely ravishing.  She caressed the text, wresting from it every drop of meaning, while keeping the vocal line airborne and shimmering.”

- The Door County Advocate, WI

“ Mezzo soprano Janine Hawley performed three of the opera's arias, [La Fedeltá Premiata] interspersed through the program. Her interpretative choices are tasteful and her lighter voice is well suited to the music; Hawley's dusky tone was at its best in her last aria, ``Barbaro Conte.'' Playing a lovesick heroine, Hawley acted the part convincingly, her facial and body expressions subtly in sync with the music, even through the orchestra's introductions and interludes.”

– Hartford Courant

“Hawley, accompanying angel throughout for Gerontius, sang splendidly in the mezzo and contralto registers, lending effective drama to her dialogue. She displayed fine intonation, timbre and understanding of language.”

Kalamazoo Gazette for Elgar’s oratorio Dream of Gerontius

“Hawley’s voice is gorgeous and her style so convincing.  She seemed to weep through “Lacrimosa”, a day of tears illustrated by sweet, somber strings, and delivered promise during the “Lux Aeterna”.

- Cedar Rapids Gazette for Verdi Requiem

“Soloist Janine Hawley sang richly and beautifully in the next two movements, especially in the joyous fifth one . . . “

- Chautauquan Daily for Mahler 3rd Symphony


Additional reviews available upon request.

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