DIDO AND AENEAS: PHILHARMONIA BAROQUE ORCHESTRA

“Jill Grove was brilliant — frightening and funny at the same time — as the evil Sorceress, irritated with the bumbling idiocy of her minions.”

Jonathan Rhodes Lee, San Francisco Classical Voice, November 2009

 “Both sopranos fared better as the Two Witches, supporting the commanding Sorceress of contralto Jill Grove.”

Joshua Kosman, San Francisco Chronicle, November 7, 2009

DIE FRAU OHNE SCHATTEN: LYRIC OPERA OF CHICAGO

“I have never heard the Nurse’s music, which requires the near impossible, a contralto-cum-dramatic soprano, better sung than by Jill Grove. Her thrilling debut should take the American mezzo far.”

Hugh Canning, The Sunday Times, November 25, 2007

“Jill Grove, in a breakout performance, was in complete command as the wicked Amme, one of the toughest roles in the repertory.”

John Yohalem, Opera Today, December 04, 2007

THE EGYPTIAN HELEN: METROPOLITAN OPERA

“Jill Grove sang the Omniscient Seashell — yes, you read that right — as she had with Ms. Voigt in concert. She gave us her rugged, somewhat smoky mezzo, and her solid musical understanding. Ms. Grove is a singer you can bank on, in a variety of roles.”

Jay Nordlinger, The New York Sun, March 19, 2007

SAN FRANCISCO RECITAL

“Grove pulls no punches in her singing, deploying a vibrant, earth-colored tone that combines agility with a low center of gravity…And Grove's expressive impulse is never less than forceful. She shapes legato phrases with a rough-hewn elegance that stresses every emotional nuance, and rises to a dramatic climax with even greater vividness.”

Joshua Kosman, The San Francisco Chronicle, January 17, 2006

LA FORZA DEL DESTINO: SAN FRANCISCO OPERA

“Jill Grove’s Preziosilla would have been an arresting presence with or without the garish costume; the mezzo-soprano delivered the part with clear, ringing tone that cut through even the largest choral outbursts.”

Georgia Rowe, Opera News, February 2006 

“There were more alluring contributions from mezzo-soprano Jill Grove, singing with fire and fervor as the morally suspect Gypsy Preziosilla…”

Joshua Kosman, The San Francisco Chronicle, November 4, 2005

“Jill Grove was an outstanding Preziosilla, enlivening scenes…Vocally varied, she phrased naturally without distorting the rhythm, which is so necessary in that part.”

Michael Zweibach, San Francisco Classical Voice, November 2, 2005

IL TROVATORE: HOUSTON GRAND OPERA

“Mezzo-soprano Jill Grove offered a riveting portrait of Azucena in Houston Grand Opera’s production of Il Trovatore.  Replacing an ailing Delora Zajick on two weeks’ notice, Grove excelled vocally and dramatically, delivering “Stride la vampa” with power and nuance, revealing the character’s vulnerability as well as her anger.  Throughout the evening, Grove rose to the vocal challenge of Verdi’s exacting vocal demands and then some; her chest tones around middle C and below, as well as the sheer volume of sound she generated in that register, were most impressive.”

Marcia C. Citron, Opera News, April 2005 

WOZZECK: METROPOLITAN OPERA

“…the smooth, sly Margret of Jill Grove…”

John. W. Freeman, Opera News, March 2005 

DER RING DES NIBELUNGEN: LYRIC OPERA CHICAGO

“Jill Grove sounded like the Voice of the Cosmos as Erda…”

Mark Thomas Ketterson, Opera News, June 2005

“Jill Grove’s Erda sounded an aural embodiment of wisdom, her reverberant contralto intoning the low-lying vocal line with the booming authority of an ancient cathedral bell.”

Mark Thomas Ketterson, Opera News, December 2004 

 “Jill Grove brought a majestic stage presence and an abundance of caressing, plummy timbre to her Lyric debut as Erda.”

Mark Thomas Ketterson, Opera News, March 2004

PETER GRIMES IN CONCERT AT AVERY FISHER HALL

“Jill Grove was a deliciously vulgar, two-fisted Auntie…”

F. Paul Driscoll, Opera News, April 2004 

LA GIOCONDA: COVENT GARDEN

“..the biggest impression was made in the smallest role, by the impressive Jill Grove,

making her Royal Opera debut as old, blind La Cieca.”

                                                Richard Fairman, Financial Times, August 9, 200 

“Jill Grove’s rich contralto made her a striking La Cieca.”

                                                Rupert Christiansen, Daily Telegraph, August 9, 2004

“Grove is harrowingly intense as Gioconda’s blind mother Cieca.”

                                                Tim Ashley, The Guardian, August 9, 2004

KHOVANSHCHINA: ENGLISH NATIONAL OPERA

“There is also plenty of good singing, particularly from Jill Grove as Marfa, a woman who combines religious and sexual passion in a particularly Russian way: an extraordinarily powerful and focused mezzo possessed of great lyricism and shattering chest-notes.”

                                                Robert Thicknesse, The Times, January 25, 2003 

“Jill Grove’s moving and impassioned Marfa effortlessly encompasses the role’s contralto range, her soft singing catching at the heart.”

                                                David Blewitt, The Stage, January 30, 2003 

“A very strong cast is led by the fine American contralto Jill Grove, making a welcome London debut as Marfa.”

                                    Rupert Christiansen, The Daily Telegraph, January 25, 2003 

“The greatest performance came from American mezzo Jill Grove as Marfa, alarming in her depiction of the woman’s conflict between religious devotion and uncontrollable desire for Tom Randle’s sexy dissolute Andrey.”

                                                Alexis Petridis, The Guardian, January 24, 2003

“The big discovery is Jill Grove, an American mezzo whose Marfa has dignity, looks, expressive intelligence and a pure generous voice.”

                                                Andrew Clark, Financial Times, January 2003 

“There was the excitement of encountering a new talent in the rich voice of the American mezzo Jill Grove as Marfa.”

Mark-Anthony Turnage, The Telegraph 

AIDA: DAYTON OPERA

“It was Jill Grove’s portrayal of Amneris that stood out for its depth of emotion.  At times humorous, other times vengeful, she understood the ebb and flow of feelings that exist within the character she portrayed.”

                                                Nicole Hamilton, The Cincinnati Enquirer, March 31, 2003

“Michelle Capalbo and Jill Grove, as Aida and Amneris, created moments of vocal and dramatic perfection.  Each of their confrontations made musical and dramatic harmony.”

                                                Burt Saidel, The Oakwood Register, March 25, 2003

“Jill Grove (Amneris) was also exemplary in her Dayton Opera debut.  In one of the most challenging roles, Grove played Amneris and made sure that she conveyed the proper amount of sincerity in order to avoid coming across as overly snide or vindictive.  Grove performed well with Capalbo and they both brought out the on-stage rivalry of their characters.”

                                                Russell Florence Jr, The Impact Weekly, March 27, 2003

“The greatest applause on opening night, however, went to mezzo-soprano Jill Grove, whose characterizations of the jealous and vindictive Princess Amneris is chilling, yet sympathetic.”

                                                Kate Brauer, Cincinnati City Beat, April 1, 2003

VERDI REQUIEM: TORONTO SYMPHONY ORCHESTRA

“Jill Grove, in full command of her firm, gleaming mezzo, could not have been improved upon, and her pitch was immaculate in the famously treacherous unaccompanied duet-at-the-octave in the Agnus Dei with Brueggergosman.”

                                    Ken Winters, Globe and Mail, May 16, 2003 

DIE MEISTERSINGER: METROPOLITAN OPERA

“Jill Grove brings to her excellent Magdalene both a rich lover register and youthful exuberance.”

Paul Griffiths, The New York Times, November 19, 2001 

“Rich-voiced mezzo Jill Grove was winning as Magdalene, Eva's attendant."

Mike Silverman, Musical America, November 20, 2001

GÖTTERDÄMMERUNG: DALLAS OPERA

“The other vocal knockout was Jill Grove as a diesel-fueled First Norn…”

                                    Scott Cantrell, The Dallas Morning News, January 12, 2002 

UN BALLO IN MASCHERA: WELSH NATIONAL OPERA

“The sensational Ulrica of the American Jill Grove, the best I've heard in any theater.”

Hugh Canning, The Sunday Times, October 1998 

“Jill Grove in her British debut displays a contralto that comes from the very abyss from which Ulrica summons Satan in her opening invocation. She is a singer to be reckoned with.”

John Higgins, The Times, October 1998

“Jill Grove reveled in the role of Ulrica.”

Mike Smith, The Western Mail, October 1998 

“There was ringing applause for Jill Grove in her European debut as Ulrica.”

         Nigel Jarrett, The South Wales Argus, October 1998

“An outstanding highlight was the fortune-telling Ulrica by Jill Grove, a powerful out-front performance that brought forth roars of appreciation.”

Jon Holliday, The Stage, October 1998