Dinorah (Dinorah)—Amore Opera, March 2019

Jennifer Moore had a splendid go at the title role. Her fine, healthy voice was securely deployed, and she showed a sure command of the stage. The Shadow Song emerged with spirit and technical fluency.
-George Loomis, Opera Magazine, June 2019 issue

Singing the title role on March 20 was soprano Jennifer Moore, whose surprisingly robust and limpid voice carried effortlessly over the large Amore Opera orchestra, but was delicate enough to make Dinorah’s naïvete and earnestness believable.
- Steven Jude Tietjen, Opera News, June 2019 issue

Jennifer Moore is as attractive a stage presence, as worthy an actress, as untiring a diva as was Holly Flack in the first cast. [...] The voice is a very beautiful one of impressive quality, a bit heartier in tone. Moore’s ornamentation (and this era at the Opéra-Comique demanded constant ornamentation) pours out tirelessly in a lengthy evening. There are two performances of the opera on today and you are in for a treat with either lady.
-John Yohalem, Parterre Box

Soprano Jennifer Moore did a stellar job meeting the steep requirements of the title role. This is a coloratura challenge, as the singer has to warble over a large orchestra and hit some stratospheric notes. Ms. Moore’s standout moment came in the “Shadow Aria" in the second act, where the girl sings a merry two-part waltz to her own shadow. The tricky bit is that Meyerbeer asks for the shadow to respond in the same singer’s voice, but with a different musical inflection. She also sang beautifully in the latter pages of the very long part, maintaining a silver, gleaming sound in the arduous finale when Dinorah finally breaks the chains of madness and is reunited with Hoël.
-Paul Pelkonen, Superconductor Blog (https://super-conductor.blogspot.com)

Jennifer Moore has a larger, more substantial coloratura voice that could handle “La Traviata," and her more mature, serious presence hinted at real madness and potential tragedy. Moore’s “Shadow Song" was also nimble and fleet, capped by a secure high D.
-Eli Jacobson, Gay City News

La bohème (Mimì)—Bronx Opera, May 2013

The two standouts in this cast were the Marcello of Jeremy Moore and the Mimi of Jennifer Moore. [...] I didn't know Jennifer Moore's singing before, but I hope to see and hear her much more. Her singing is skillful and musical, a free, rich sound throughout. Hearing her sing Mimi's soaring vocal lines was a pleasure, and watching her suffer Mimi's fate was delightfully painful.
-Taminophile blog, www.taminophile.com

La gazza ladra (Ninetta)—Bronx Opera, January 2013

Poised and poignant, singing with easy agility and brightly floating tone, the soprano Jennifer Moore provided the evening’s greatest pleasures as Ninetta, a servant girl unjustly accused of stealing silver. Ms. Moore moved with ease from the opera’s bubbly first act to its near-tragic second, a spectacle of female humiliation that anticipates Bellini’s “Sonnambula" (1831) and the pathetically misunderstood and suffering heroines of the operatic golden age that followed.
-Zachary Woolfe, The New York Times

Jennifer Moore was an attractive stage presence as Ninetta and sang with involvement and good diction.
-George Loomis, Musical America

Jennifer Moore was a lovely, fragile Ninetta, but one who eventually showed a spine of steel. She had the best music and sang beautifully.
-Joel Benjamin, TheaterScene.net

Dialogues des Carmélites (Blanche)—Dell’Arte Opera Ensemble, August 2012

The singers in the Dell’Arte performance, directed with eloquent simplicity by Victoria Crutchfield on a set consisting of little more than some chairs, were largely up to the task, singing with force and musicality and acting with unexaggerated sobriety. Jennifer Moore’s tone was focused and her face memorably stricken as Blanche, the conflicted novice.
-Zachary Woolfe, The New York Times

In this spectacular role for a sensitive singing actress, the young American soprano Jennifer Moore bravely explored the character’s neurosis.
-James Jorden, New York Post

Jennifer Moore [...] walked Blanche's dramatic arc in Act I, rising from a timid figure into a full-fledged dramatic heroine. She brought acting focus to the role and clarity of tone, highlighted by the simple set and minimal costumes.
-Paul Pelkonen, Superconductor Blog (https://super-conductor.blogspot.com)

Ariadne auf Naxos (Zerbinetta)—Dell’Arte Opera Ensemble, August 2011

Jennifer Moore was delightfully girlish as Zerbinetta. Her portrayal strengthened the parallels between Strauss and Mozart, as her Zerbinetta could be a modern-day Zerlina or Despina. It should be said, however, that in the Prologue, despite her glorious high notes, the body of her voice was slightly heavier than other Zerbinettas, such as Elisabeth Schwarzkopf’s. That said, she could be lyrical when called for. More importantly, Act II was her time to shine. She clearly relished her showpiece; her cadenzas were simply stunning. At the same time, her singing highlighted the implied mockery of the proverbial bel canto scena, which coloraturas love to lose their minds to.
-Gregory Moomjy, Opera Today

[C]oloratura Jennifer Moore handled Zerbinetta's vocal acrobatics with aplomb.
-Mike Silverman, Associated Press

Königskinder (Hexe)—Dell’Arte Opera Ensemble, December 2010

[The] mezzo-soprano who was to have sung the role of the Witch was indisposed but lip-synced the part on stage while soprano Jennifer Moore sang it—very well—from the orchestra pit.
-Mike Silverman, Associated Press

But the mezzo was vocally indisposed, and soprano Jennifer Moore sang the role from the pit. She did a great job in that difficult circumstance.
-Paul Pelkonen, Superconductor Blog (https://super-conductor.blogspot.com)

L’elisir d’amore (Adina)—Martha Cardona Theater, May 2010

His leading lady (Jennifer Moore), however, was absolutely nothing to frown at, either. Possessing an exquisitely bright voice, the petite soprano displayed an air of charisma and poise that was more than worthy of the station of the celebrated young Adina.
-Olga Privman, ReviewFix.com