Review for her debut with the Atlanta Symphony Orchestra

“Next, Cherest joined Mulligan and the ASO for three operatic numbers: “Caro nome” from Verdi’s Rigoletto, “Deh, vieni non tardar” from Mozart’s The Marriage of Figaro, and “Una voce poco fa” from Rossini’s The Barber of Seville. Cherest has a lovely, fluid and flexible voice that made the these three selections glow.”

– Mark Gresham, EarRelevant

Reviews for her role as Cristina Kahlo in Frida with Cincinnati Opera

“Also making her Cincinnati Opera debut, Jennifer Cherest brought an attractive lyric soprano to the role of Cristina Kahlo, Frida’s sister and sometime rival for Rivera’s affection.”

– Joe Law, Opera News

“Among other cast members, Jennifer Cherest made a sensitive Cristina, Frida’s sister.”

– Janelle Gelfand, The Enquirer

“Jennifer Cherest brought a lovely lyric soprano to her touching Cristina, delivering a moving account of the younger sister’s anguish over her betrayal of Frida.”

– The Opera Forum at Opera Lively


Review from the Bernstein Festival with the Columbus Symphony

After a lively rendition of the Overture, soprano Jennifer Cherest was a delightfully over-the-top Cunegonde in “Glitter and Be Gay,” taking her act mid-aria off the stage and to the theater’s ground floor and, once back onstage, removing jewelry from some of the orchestra’s women musicians while singing.

– Jennifer Hambrick, The Columbus Dispatch

Reviews for her role as Clorinda in Cenerentola with Opera Delaware

“The remaining cast members were nothing short of excellent. Soprano Jennifer Cherest and mezzo-soprano Alexandra Rodrick played the stepsisters Clorinda and Tisbe respectively with clown-like wit and agility.”

– Christine Facciolo, Newsworks

Reviews for her role as Susanna in The Marriage of Figaro with North Carolina Opera

“Jennifer Cherest as Susanna was fetching and effectively portrayed a wide range of emotions both vocally and theatrically.”

– Ken Hoover, CNVC Arts Journal in North Carolina

“Encountering a full, evenly-produced lyric voice with no weaknesses in any portion of the range of Susanna’s music was a sensational pleasure. Had Cherest’s virtues been solely vocal, she would have been a noteworthy Susanna, but the imagination and sensitivity of her performance made a distinctive Susanna an unforgettable one.”

– Joseph Newsome,

“Tyler Simpson’s mellow baritone and sly cockiness made Figaro a most engaging character, perfectly paired with Jennifer Cherest’s soaring soprano and forthright perkiness as his bride-to-be, Susanna. Together, they anchored the production with unflagging charm and humor.”

– Roy C. Dicks, The News & Observer

Reviews for her role as Emma in What Gets Kept with Washington National Opera

“You could make a case for this piece – sung very well by Daryl Freedman as the dying Amy, Jennifer Cherest as her daughter and Frederick Ballentine as her husband – as the most dramatically complete of the bunch…”

– Anne Midgette, The Washington Post

“Lawrence, the husband, was upstaged by the fine soprano Jennifer Cherest, not a Domingo-Cafritz singer, as Amy’s wise-cracking daughter, Emma.”

– Charles T. Downey, Classical Voice North America

Reviews for her role as Zerlina in Don Giovanni with North Carolina Opera

“Ms. Jennifer Cherest was a great surprise with an incredibly good Zerlina. She was definitely one of the best assets of this performance. Her chemistry with Masetto was uncanny and she conveyed perfectly the character’s flirtatious liveliness, and her singing was well modulated.

She was helped by another great performance by Mr. David Weigel as Masetto. The couple stole the show whenever they were on stage”

– Luiz Gazzola (Almaviva),

Soprano Jennifer Cherest brought more complexity than usual to the role of Zerlina, the too-susceptible peasant maid. Her warm and focused tone was a constant pleasure.” 

 – William Thomas Walker, CVNC Arts Journal in North Carolina

“As the pert and lively Zerlina, the petite Jennifer Cherest showed plenty of spunk, with a spry personality and the suppleness of a born comedienne. She spouted real spit-fire in confronting both the seductive Don and her bumbling boyfriend, Masetto. There was a huge height differential between her and David Weigel, the Masetto, who she successfully played off of. They made a fun couple, one minute tender and loving, and the next minute scolding and defiant. Both he and Cherest were treasurable in their scenes together. Cherest was especially enchanting in her “Batti, batti, o bel Masetto,” in which she threw herself at his mercy, practically begging him to punish her for having flirted with the Don.”

-Josmar Lopes

“Jennifer Cherest’s perky soprano is perfect for flirtatious Zerlina, the peasant girl.”

– Roy C. Dicks, The News & Observer

“She joined with Giovanni in a seductive account of the famous duettino ‘Là ci darem la mano,’ and she was the rare Zerlina who made something both touching and amusing of the aria ‘Batti, batti, o bel Masetto,’ her technique little challenged by the coloratura and ascent to top B. In Act Two, Ms. Cherest impressed both in ensembles and in her bright-toned singing of ‘Vedrai, carino.’ Her chemistry with Mr. Weigel was endearing, and it was fantastic to hear a voice more substantial than the usual airy (and air-headed) soubrette in Zerlina’s music.”

Review for her role in Twisted - A Trio of Excellence

“It was the Met Opera-like quality singing of Opera Columbus’ Jennifer Cherest in Delibes’ “Viens, Mallika,…Dõme épais le jasmin” from Lakmé  that cemented the program as one for the ages.”

– Steve Sucato, Arts Air

Review for her role as Sybil Vane in the Picture of Dorian Gray at the Aspen Music Festival
“Jennifer Cherest’s emotionally charged singing as Sibyl was very affecting”
– Financial Times of London
Reviews for her role as Sandrina in La Finta Giardiniera at the Merola Opera Program

“It helped, too, that soprano Jennifer Cherest sang Sandrina with a wonderful combination of virtuosity and expressive grace. She brought long-breathed phrasing and an air of vulnerability to the extended scene in Act 2 that finds her lost in a dark forest, and the explosion of insanity thereafter was pointed and dramatically charged.”

-Joshua Kosman, San Francisco Chronicle

“Jennifer Cherest sounded pretty and clear as the much-maligned title character. Her Sandrina is sympathetic and sweet.”

-The Opera Tattler

“Thursday, I know I was convinced of it, listening to the duet between tenor Lebow and soprano Cherest, suddenly singing with sweetness and yearning, delivering the serenity that only Mozart gives.”

“Soprano Jennifer Cherest (as Sandrina, an aristocrat disguised as the eponymous garden girl) would bloom into something special in those final 40 minutes.”

-Richard Scheinin, Contra Costa Times

“Soprano Jennifer Cherest was consistently impressive as the radiant, resilient Sandrina”

-Georgia Rowe, San Francisco Classical Voice

“The title character is, indeed, reconciled with her formerly jealous suitor; but this does not imply that either of them is happy. Indeed, what was most striking about Jennifer Cherest in this role was that the number of times she even hinted at a smile could be counted on one hand (and the opera runs for over three hours).”

-Stephen Smoliar, San Francisco Music Examiner

Review of Myths and Rings with the Kentucky Symphony

“Soprano Cherest displayed a voice of crystal clarity in excerpts from “Return of a King.”

Reviews for the Merola Grand Finale

“Where to begin in enumerating the evening’s riches? Perhaps with soprano Jennifer Cherest, if only because she got so much stage time and used it so superbly – first in a crystalline duet with tenor Andrew Stenson from Lehár’s “Merry Widow,” then in a beautifully expressive and technically polished aria from Handel’s “Alcina.”

-Joshua Kosman, San Francisco Chronicle

“There were a few standouts among the sopranos also.  Jennifer Cherest had a charming duet with Andrew Stenson from Die lustige Witwe, both had fairly clear diction and sang with appeal.”

-The Opera Tattler

“Either way, it was an impressive pairing, as were Jennifer Cherest (in an arresting gown) and Andrew Stenson who immediately followed them in “Mein Freund. Vrenunft!” from Lehar’s Die lustige Witwe….

Theo Lebow joined Cherest to impress the audience in “Voglio amar e disamar” from Handel’s Alcina- the sopranos second marvelous turn of the night, accompanied by a memorable cello solo from the pit.”

“Jennifer Cherest’s “Credete al mio dolore” from Handel’s Alcina was outstanding.”

-Janus Gereben, San Francisco Classical Voice

“Soprano Jennifer Cherest barreled into her scene from Die lustige Witwe with an urgent, full-throated sound. She was equally strong & sustained in her scene from Handel’s Alcina.”

-Alex Feldheim


“Time stopped for an aria from Alcina as well, when Jennifer Cherest laments of losing her lover against a pared down backdrop of harpsichord and cello. Her voice is beautiful, but it was the sheer musicality, the pacing of the piece which transported us. She did not try to do too much, keeping the ornaments restrained, but keeping it pure revealed an abyss of despair.”

-Cedric, SFist