"A Voice of Extraordinary Beauty, Versatility and Power of Expression"
“Jacklin’s singing cracked with excitement!”
A TRUE HIGH DRAMATIC SOPRANO
American Soprano DIANA JACKLIN stands out among singers for her extreme vocal power and sheer beauty of tone combined with musical intelligence and versatility. A true high dramatic soprano, Diana Jacklin is one of very few in the world with this extremely rare voice type. She has 20 opera roles, including one world premiere, to her credit.
OPERA ROLES:
Beethoven:
Leonore (Fidelio)
Korngold:
Marie/Marietta (Die Tote Stadt)
Mascagni:
Santuzza (Cavallaria Rusticana)
Mozart:
Elettra (Idomeneo)
Vitellia (La clemenza di Tito)
Puccini:
Minnie (La Fanciulla del West)
Tosca
Turandot
Strauss:
Ariadne (Ariadne auf Naxos)
Elektra
Salome
Verdi:
Abigaille (Nabucco)
Aida
Eboli (Don Carlo)
Lady Macbeth (Macbeth)
Leonora (Forza del Destino)
Wagner:
Brünnhilde (Die Walküre)
Kundry (Parsifal)
Ortrud (Lohengrin)
Senta (Der Fliegende Höllander)
Sieglinde (Die Walküre)
Venus (Tannhäuser)
Weill:
Mrs. Maurant (Street Scene)
ORCHESTRAL REPERTOIRE:
Beethoven:
9th Symphony
Missa Solemnis
Berlioz:
Les Nuits d'Ete
Brahms:
Requiem
Mahler:
2nd Symphony
8th Symphony
Rückert Lieder
Strauss:
Vier Letzte Lieder
Verdi:
Requiem
Wagner:
Wesendonck Lieder
Liebestod
Diana Jacklin sings Lady Macbeth's aria Una Macchia, the sleepwalking scene from Verdi's Macbeth.
Diana Jacklin sings Leonore's aria Abscheulicher! from Beethoven's Fidelio.
Diana Jacklin sings Minnie's aria Laggiu nel Soledad from Puccini's Fanciulla del West.
Diana Jacklin sings Ortrud's curse Entweihte Götter! from Wagner's Lohengrin.
“Soprano Diana Jacklin could be gloriously heard in {her} part in the {Beethoven} Ninth. ”
“The North American Diana Jacklin returned to offer her extraordinary soprano voice to the service of music.”
“Diana Jacklin, who as Molly Bloom delivers a magnificent, tour-de-force soliloquy at the end of the performance.”
“That night the choir included an American soprano, Diana de Boston, . . . who gave us three magnificent solos.”
“There is Katisha, the lovelorn lady of a certain age who exemplifies all the fury of a woman scorned. Diana Jacklin pours real passion into what otherwise might be a caricature, and genuine strength comes across in her characterization. Her frustrated denunciation in the finale of Act I carries all the pathos of a torch song.”
“A local treasure.”
“Lady Macbeth’s character is established virtually from the start, as she reacts to her husband’s letter recounting the witches’ prophecies. In her first aria, an appeal to hellish powers, she shows her determination to stiffen Macbeth’s resolve to commit whatever bloody acts are necessary to attain maximum power. Soprano Diana Jacklin took no prisoners, giving her all both musically and dramatically. She possesses a striking voice, having begun her career as a mezzo before transitioning to genuine dramatic soprano. Ergo, her decision to liberally employ chest voice was more an aesthetic choice in characterization than a practical necessity to be heard. For Lady Macbeth is no lady, though of course she can simulate one when circumstances require. Jacklin’s singing . . . crackled with excitement.
And Jacklin is horrified and enraged by her husband’s risking self-incrimination but simultaneously has to put on a bright face for the court, while singing a spirited brindisi.
Lady Macbeth’s famous sleepwalking scene finally gave Jacklin the opportunity to show her capability for introspection as well as the grand dramatic gesture, and she gave a fine account of this quasi-mad scene, the intensity of her guilt matching that of her earlier ruthless ambition.”
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“Diana Jacklin’s singing is so expressive and convincing —such artistic maturity! Wow!”