"Jamilyn Manning-White owned the night, delivering a vibrantly sung and masterfully acted Lucia.  She executed the vocal demands brilliantly, including several spot-on high E-flats held for longer than seemed humanly possible.  But it was her physical freedom, unpredictability, and specificity of reactions that made her performance so riveting.  Marrying the patient's illness to Lucia's impulsiveness, Manning-White began her performance just slightly unhinged, building to a superb mad scene that received a justifiably long ovation."

- Joanne Sydney Lessner, Opera News

“Jamilyn Manning-White was an agile, fiery Lucia.”

- Alex Ross, The New Yorker

"Jamilyn Manning-White, a knockout Lucia, delivering a high-octane mad scene."

- Heidi Waleson, Wall Street Journal

In Jamilyn Manning-White, the company has found a heartbreaking Lucia of impressive intensity and striking vocal accomplishment...her bright full soprano glowed in Lucia’s grateful music and she added a number of stunning high E flats that ricocheted like laser beams off the theater’s brick walls.

- Christopher Corwin, Musical America

As Lucia, Jamilyn Manning-White, unleashes all of the role’s requisite technical fireworks. Her voice, especially its spinning top, is well produced and moving. Moreover, she manages to convey Lucia’s complex, shifting interiority - from whimsy to devotion, and, finally, to madness - with conviction.

- Patrick Clement James, Parterre Box

As the eponymous heroine, one could not ask for a better interpreter than Jamilyn Manning-White, whose prodigious skills...were matched by her dramatic artistry. Our heart broke for this victim of male privilege.

- Meche Kroop, Voce di Meche

A tour de force for Manning-White, who managed to express an incredible range of colors and emotions through the sheer force of her singing...The soprano carried the show with a sensational performance vocally and acting. And that’s when you know you have a sensational Lucia.

- Zerlinetta, Allegri con Fuoco

Props go to Jamilyn Manning-White, who carried the title role of Lucia, with her firecracker energy, palpable fragility, and focused soprano.

- Heidi Lauren Duke, Opera Think Tank

Gregory Gerbrandt as Marcello and Jamilyn Manning-White as Musetta provided a tempestuous counter-balance to Rudolfo and Mimi’s less demonstrative relationship. The couple’s handsome visage and adept vocal talents made their romantic jousting quite intriguing.

- Robert Coleman, Opera News

Enter Musetta, (Jamilyn Manning-White), who is the definition of high maintenance. Manning-White’s Musetta is just flirty enough, and her soprano is a strength to the production.

- Jay Wamsley, Deseret News

Jamilyn Manning-White pulled out all the stops as Musetta, showing dramatic flair and fine vocal control — her diminuendo on the high B in “Quando me’n vo’” would be the envy of many a soprano.

- Marcia Gronewold Sly, The Ellsworth American

Jamilyn Manning-White, as Musetta, clutched the audience in her hand and held it close to her heart. Manning-White is blessed with a stunning soprano voice, but her true gift is an onstage charisma that makes it impossible not to watch her.

She easily could have overpowered Marcello, but instead the two engaged in an intricate vocal tango that gave depth to their characters on-again, off-again romance.

- Judy Harrison, bangordailynews.com

Soprano Jamilyn Manning-White, a stunning-looking Euridice, was especially adept at using French vowel sounds to color the musical line.

- Fred Cohn, Opera News

Jamilyn Manning-White sang Eurydice with a lovely voice and was affectingly understated in her death.

- George Grella, New York Classical Review

Jamilyn Manning-White [Belinda] gave a strong, shapely performance...lovely.

- Allan Kozinn, The New York Times

Jamilyn Manning-White performed Belinda as if she were a living mirror. Her voice was powerful and vibrant and her presence was felt even during scenes in which she did not sing.

- Jeffrey Johnson, The Hartford Courant

Jamilyn Manning-White’s Queen of the Night ... shaping nicely her melodies toward the end of the famous Act 2 aria, with an especially sensual vibrato in the low register, which contrasted well with the catchy stratospheric staccatos.

- Esteban Meneses, Examiner.com

Mahler’s Fourth Symphony ends with a brief orchestral song for a soprano who relates a child’s view of heaven. Mahler asked that the song be delivered ‘with childlike and serene expression.’ Soprano Jamilyn Manning-White caught the right sound for this tricky and deceptively demanding moment.

- Jeffrey Johnson, Hartford Courant

Jamilyn Manning-White [Mrs. Jenks] is a soprano with great promise and talent.

- Seth Lachterman, Berkshire Review of the Arts

Soprano Jamilyn Manning-White and mezzo-soprano Karin Mushegain as the stepsisters show the requisite mixture of silly stupidity and careless cruelty...superb singing and acting.

- Jane Dieckmann, Ithaca Times

The admirable cast worked particularly well together, playing off each other in the intricately staged, madcap ensemble scenes and taking charge for their moments in the spotlight...Jamilyn Manning-White [Clorinda] and Karin Mushegain, both members of the Young Artist Program, captured the awkward vulgarity of the stepsisters.

- Heidi Waleson, The Wall Street Journal

Soprano Jamilyn Manning-White was wretchedly delightful as the bratty Clorinda.

- Wayne Myers, The Examiner

Jamilyn Manning-White [Clorinda] and Karin Mushegain [Tisbe]...charmed the audience with their singing and acting, not to mention their pulchritude.

- Lew Schneider, Seen and Heard International

Clorinda, played by Jamilyn Manning-White, and Tisbe, played by Karin Mushegain sang brilliantly and were wickedly selfish even as they postured with comic effect.

- Geraldine Freedman, DailyGazette.com

The palette also included lovely and resonant singing from Chorus Angelicus & Gaudeamus, and engaging soprano solos by Amanda Hall and Jamilyn Manning-White.

- Jeffrey Johnson, Hartford Courant

Jamilyn Manning-White sang Fiordiligi with impressive vocal agility. She performed the tricky register shifts in ‘Come scoglio’ with gutsy confidence and demonstrated a consistently fluid and accurate coloratura.

- Jeffrey Johnson, Hartford Courant

Soprano Jamilyn Manning-White was most impressive in navigating the extraordinary registrar shifts in ‘Non mi dir’ particularly in the opening recitative and the allegro moderato closing where she was to join effortless high B-flats into effective coloratura. At her best she was able to capture the mystery of this enigmatic character [Donna Anna].

- Jeffrey Johnson, Hartford Courant

Both soprano Jamilyn Manning-White as the Female Chorus, and tenor Samuel Levine as the Male Chorus were engaging. They were able to sustain the sense of strangeness that this opera covets and yet they could disappear into scenes at will, even if they remained standing with them.

- Jeffrey Johnson, Hartford Courant