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Soprano Soloist, Messiah, Apollo Chorus of Chicago

“Soprano Jamie-Rose Guarrine... resisted the common urge to over-dramatize ‘I know that my Redeemer liveth,’ instead showing how effective this aria is when sung simply and gracefully."

- John Y. Lawrence, Chicago Classical Review

Fury, Rev.23, Whitesnake Projects, Boston, MA

"Work by the three Furies, (Jamie-Rose Guarrine, Nora Graham-Smith, and Melanie Long) balanced and executed impressively, especially in light of the acrobatics of their staging."

- Sudeep Agarwala, Boston Music Intelligencer



"The Three Furies – soprano Jamie-Rose Guarrine and mezzo-sopranos Nora Graham- Smith and Melanie Long – were a trinity of unholy grunge-punk goddesses par excellence. Colorful, adorable, and terrifying, dressed in leggings, tutus, perky neon wigs, all three actresses mustered extraordinary precision and stamina to maintain an effective melding of their complex music, all while honoring equally demanding and complex physical staging requirements."

- Charles Geyer, La Scena Musicale Magazine Boston

Schubertiade, University of Wisconsin, Madison

"Soprano Jamie-Rose Guarrine brought warmth, ease, and confidence to the lyrical beauty of “Auf dem Strom”...and then the heart-wrenching “Nachthymne,” beautifully performed by Jamie-Rose Guarrine.” (2020)


“The imported guest artist – soprano Jamie-Rose Guarrine, a graduate of the UW- Madison who sings opera and is now a professor at the University of Massachusetts in Amherst – proved a complete success in both her charming presentation and her first- class performances. And the closing number, the famous “Shepherd on the Rock” for soprano, clarinet, and piano, brought the house to a standing ovation” (2016)

- Jacob Stockinger, The Well Tempered Ear/Arts Critic for the Isthmus, Madison

Debut Album, Transparent Boundaries: Songs Set to the Words of Dickinson, Whitman, and Emerson

“This fascinating collection focuses on the two American poets set (probably) more often than any others, Emily Dickinson and Walt Whitman. Scott Gendel’s six fine, brief settings for soprano, cello and piano To Keep the Dark Away, and Previn’s Three Dickinson Songs, as splendid an example of word-setting as the title is mundane. Jamie- Rose Guarrine sings these sets very prettily indeed”

- Guy Rickards, Gramophone Magazine



“Soprano Jamie-Rose Guarrine is an artist with an exceptionally promising future. Her voice is sizable and colorful, and she demonstrates vivid expressiveness at every turn."

- Gregory Berg, NATS Journal of Singing

Adele, Die Fledermaus, Florentine Opera

“A great part of this production's success lay in the well-balanced, theatrically savvy cast, and some rather physical, very entertaining staging. Jamie-Rose Guarrine played a bubbly Adele, singing the role, including the famous ‘Laughing Song,’ with a winning mix of ringing sound, technical ease and theatrical character.” - Elaine Schmidt, Milwaukee Journal Sentinal


“Jamie-Rose Guarrine pealed Adele’s laughing ditty vivaciously, with some pert variants in the upward runs and a good, solid top D.” - Mark Thomas Ketterson, Opera News

Soprano Soloist, Madison Opera in the Park

“The evening’s best moments included a duet between Wallis Giunta and Jamie-Rose Guarrine… eir rendition of “Ah, perdona al primo affetto” by Mozart was affecting and surprisingly delicate — I felt a little thrill the first time their voices combined.”

- Lindsay Christians, The Capitol Times

Lucia, Lucia di Lammermoor, Opera Saratoga

“The performance of Jamie-Rose Guarrine as Lucia di Lammermoor is breathtaking. Her voice is amazing not only for its power and beauty but also for the emotions she attaches to every note. This is a performance that will thrill you. After her opening number, the audience gave her an ovation that is typically awarded at a curtain call. That response was replicated several times and peaked during her sensational mad scene in the third act. Guarrine unleashes her emotions, but with her astounding duet with flautist Karla Moe (New York City Opera), she is tenderly sentimental.”

- Bob Goepfert, The Saratogian


“As the headliner, soprano Jamie-Rose Guarrine roared through her numerous coloratura lines and cadenzas in the famous mad scene with great brilliance. Her voice seemed to get bigger as she went up. Maybe it was just her control. There was an ease and naturalness to her projection that belied the virtuosic demands. The crowd was fully appreciative of her talents.”

- Geraldine Freedman, The Daily Gazette


"As the title character, soprano Jamie-Rose Guarrine, making her Opera Saratoga debut, possesses an utterly thrilling, agile voice. She commanded the famous Act 3 ‘mad scene’ with pathos, beauty and heartbreaking skill.”

- Valerie Lord, Saratoga Wire


“Donizetti's score has a cumulative intensity and soprano Jamie-Rose Guarrine, at the heart of it all, was outstanding. Arriving for Act 3's famously outsized mad scene, Guarrine processes slowly down a flight of stairs in profile. Finally, she turns to the audience and reveals the streaks of blood on her dress. Death has already paid a visit and will certainly be calling again, but not without lots of beautiful singing. Throughout the long and demanding scene, Guarrine moved as if in a trance and yet thoroughly commanded the stage and owned the score. Her voice was always vibrant and supple, while the effect was alternately sultry, chilling and disturbing.”

- Joseph Dalton, Times Union

Susanna, Le Nozze di Figaro, Austin Opera/Utah Opera/Florentine Opera

“But as fantastic as the entire cast is, they are upstaged ever so slightly by the wonderful Jamie Rose Guarrine as Figaro's fiancée, Susanna. The beautiful Guarrine has an amazingly clear soprano voice and acting chops that are on par with her incredible set of pipes. Her Susanna is innocent but cunning, sarcastic, and witty, turning her into a heroine that we root for and laugh with.”

- Jeff Davis, Broadway World, Austin, TX


“Guarrine's sublime performance of Susanna's fourth-act aria, ‘Deh vieni non tardar,’ was one of Saturday's highlights. ‘Che soave zeffiretto,’ the duet Susanna and the Countess sing while setting a trap for the philandering Count, reaches similar heights.”

- Catherine Reese Newton, Salt Lake Tribune and Opera News


“Soprano Jamie-Rose Guarrine makes a disarmingly attractive person of Susanna, the servant girl endowed with endless wit and resourcefulness and bottomless good will … Her bright smile and easy, open carriage tell of confidence and receptiveness. Guarrine gets all this done without resorting to any of the sassy-maid opera cliches and poses. Guarrine’s voice is … unified and rich from top to bottom, big but apparently effortless, generous in breadth, assured in every way. The sheer beauty of it is a blessing upon the ear.”

- Tom Strini, Urban Milwaukee


“Guarrine’s voice is sweet and supple in just the right “romantic-lead” style.”

- Paul Kosidowski, Milwaukee Magazine

Poppea, Agrippina, Opera Omaha

"Jamie-Rose Guarrine brought her sparkling, clear soprano to the fore as Poppea, the object of Ottone, Claudius and Nero's love and lust. Whether sweetly touched by Ottone's declarations of innocence or fiercely vowing revenge on Agrippina and her betrayal, Guarrine finely conveyed a wide range of emotions that propelled her throughout the performance."

- Kim Carpenter,

Fiakermilli, Arabella, Minnesota Opera

“Jamie-Rose Guarrine traversed the Fiakermilli's coloratura flights with ease and clarity."

- Michael Anthony, Opera News


“Jamie-Rose Guarrine (an alluring Fiakermilli) sang with distinction.”

- Larry Fuchsberg, Star Tribune

Madison Symphony Orchestra, Christmas Spectacular

"Soprano Jamie-Rose Guarrine lit up Handel's ‘Rejoice Greatly’ aria with excellent embellishments and trills. Her lovely strapless red dress with its full gathered skirt reflected the beautiful delicacy and skill of her voice."

- Lindsay Christians, The Capital Times


“The cumulative effect was mesmerizing, and exciting. Of the many other works, let's mention: A Handel aria, ‘Rejoice Greatly,’ sung with the appropriate coloratura soprano embellishment by Jamie-Rose Guarrine, whose brilliant red satin gown matched her bright, fresh voice.”

- John Aehl, Wisconsin State Journal


“In a full-skirted, strapless red gown, soprano Jamie-Rose Guarrine sparkled on Mozart's exhilarating ‘Alleluia’ aria from ‘Exultate, Jubilate.’”

- Bob Rashid,

Olympia, Les Contes d’Hoffmann, Wolf Trap Opera

“As Olympia, coloratura Jamie-Rose Guarrine sang with polish, yet the timbre of her voice suggested that she was capable of doing more than just a series of vocal acrobatics.”

- Gregory Moomjy, Opera Today


“The mechanical doll Olympia (soprano Jamie-Rose Guarrine…) … sang her virtuosically sweet song with comfortable ease and precision, until her robotics had a comic meltdown”

-Michael Lodico, Ionarts, Washington D.C.

Clerida, The Fortunes of King Croesus, The Minnesota Opera

“Several of the singers also had a fine sense of the style: …soprano Jamie-Rose Guarrine displayed sparkling clarity as Clerida.”

- Heidi Waleson, The Wall Street Journal

Cléone, Medée, Chicago Opera Theater

"Jamie-Rose Guarrine's lyric coloratura sparkled prettily in Cléone's brief interludes.”

- Liz Lauren, Opera News

San Francisco Opera Merola, Grand Finale Concert

“There was a winged lightness, too, in the alluring pianissimo pairing of soprano Jamie-Rose Guarrine and tenor Brian Thorsett in “Tornami a dir che m’ami” from Donizetti’s Don Pasquale. They were like a pair of hummingbirds, singing and moving in improbable synchronicity.”

- Steve Winn, San Francisco Chronicle


“One of the evening's finest moments came from an unusually quiet and intimate performance of the love duet "Tornami a dir che m'ami," from Donizetti's Don Pasquale. Guarrine and Thorsett exchanged tender words, and were perfectly balanced by Buckley, who kept the orchestra down to a near-whisper. In a 3,000-seat opera house, elegance is more difficult to achieve than big, earthshaking climaxes, and these two young artists (assisted by a knowing conductor) did just that.”

- Janos Gereben, San Francisco Classical Voice

Papagena, Die Zauberflöte, Santa Fe Opera

“Guarrine’s pert Papagena made one want to hear more”

- Scott Cantrell, Dallas Morning News

Barbarina, Le Nozze di Figaro, Santa Fe Opera

“Jamie-Rose Guarrine is a Barbarina blessed with a healthy dose of Susanna’s common sense.”

- Simon Williams, Opera News

Pamina, The Magic Flute, Florentine Opera

"Soprano Jamie-Rose Guarrine sang a lovely Pamina, singing with warmth, depth, and relaxed power.”

- Elaine Schmidt, Milwaukee Journal Sentinel


“As Pamina, the heroine constantly threatened with abduction and unrequited love, a status that produces memorable arias, the Florentine was blessed with a Wisconsin trained import, Jamie-Rose Guarrine. She is establishing herself as one of the warmest lyric sopranos in the business and here added humanity where she could.”

- Dominique Paul Noth, Urban Milwaukee


“Soprano Jamie-Rose Guarrine employed her lovely full ranged ringing soprano to full advantages Pamina and cut an appealing figure onstage.”

- Steve Spice, Shepherd Express

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