“The soprano Jeanine De Bique as Télaïre was of outstanding brilliance in her vocal and acting performance. With one moment of tender fragility and the next haunting vocal power, she presented every single note of this demanding role…In constant devoted communication with the conductor, she modulated the most breathtaking passages with an apparent lightness and joy that is rarely experienced.”

“Jeanine De Bique’s beautiful Télaïre, is a crystalline, highly elastic voice, with such delicate, skin-deep nuances, singing of extreme pain with extreme gentleness (especially the​‘Tristes apprêts’)“. 

“the soprano Jeanine de Bique showed off her considerable vocal capacities…The voice’s velvety timbre adds a dose of air to the strings…proof of a technical mastery coloured by a sensitivity just beneath the skin… Elsewhere, the Trinidadian soprano’s distinctive grain is extended by a skilful blend of vibrato and tension, to which is added a dramatic intensity that makes her a powerful tragedienne, particularly when she sings in direct address to the audience. Her gaze accompanies every inflection of her voice, creating a powerful impression.” 

“Jeanine De Bique, the Trinidadian queen of this night… possesses a radiant presence and sparkling, celestial timbre, She created pure magic in the third part ​“I know that my redeemer liveth” and in everything else she sang.”

“Jeanine De Bique not only sang, she embodied the roles, she suffered and trembled, rejoiced and triumphed… A celebration of expressiveness!”

“Jeanine de Bique offers us a memorable interpretation of Cinderella. We heard an extraordinary artist, endowed with an extremely rich timbre and a wide vocality with powerful emission, easily changing register but also capable of surpassing the nuances desired by the composer. Both funny and moving, she radiates the stage with her charisma and her great ease of movement.”

“In the title role, Jeanine De Bique enchants with her rich, bright timbre, combining lightness in the high notes as well as power in her most lyrical arias”

“Jeanine De Bique creates this woman of pain, for long stretches in silence, by virtue of her stage presence. The Trinidad-born soprano, however, shapes the arioso moments with enormous vocal clarity and creative power, Purcell’s baroque songs become reflections of the soul of a woman who is entirely contemporary and her story of suffering. The climax of this appropriation is ​“They tell us”, dimmed down from screaming lamentation to literally dying Sotto Voce. No one in the sold-out Felsenreitschule dared to breathe”

“Jeanine De Bique, a darkly timbred soprano who captures the deep seriousness of the situation in voice and acting, is the highlight of the evening.”

“And what a voice! It is characterized by power and great clarity, economical vibrato and a sensitive versatility that can switch from velvety delicacy to metallic sharpness at any time. In addition, an admirable vocal technique that not only masters even the most virtuoso coloraturas, but transforms them into expression.”

“Isabel’s part swoops and dives to the very edges of the soprano tessitura, without ever appearing to challenge the wonderful Jeanine De Bique. Her voice was sometimes light and liquid, with delicate pianissimos in the very upper range, and other times direct and polished.”

“Jeanine De Bique’s Susanna is a revelation! She is excellent in ensembles and duets.., and simply ravishing in her solos.”

“With a surprisingly full-bodied soprano, her voice has an impressive range of colours. The vocalization is lively and cheerful, and the voice has a volume that many of our baroque singers lack.”

“Jeanine De Bique is one of the most exciting sopranos to catch onstage these days. Animated, joyful, and technically flawless, the Trinidadian vocalist with the light, starry voice that soars before landing on audiences’ ears like a musical meteor shower..She floated notes like an untethered helium balloon atop music as lush and open as the American prairies… Whatever they may have heard De Bique perform in the past, ​“Knoxville” sent the crowd into a frenzy of endless applause… Is there any music De Bique doesn’t sing as if second nature?”

“The Caribbean soprano embodies her different heroines with a dramatic ease that is matched only by the smoothness of her voice… The two arias of Rodelinda would be enough to present the extent of her talent…This play of oppositions thus reflects the proud temperament of the singer, her conquering virtuosity, her solar high notes but also the flexibility of her phrases as well as the care given to the text”

“What a fiery voice that always sounds earthy despite its richness of overtones. Combined with an unmistakable sense of rhythm, Jeanine De Bique seems predestined for music of the 17^th and 18^th centuries… this voice touches and gets under your skin.”

“Goosebumps! This is what happens when Jeanine de Bique sings Handel…And Jeanine de Bique has exactly the vocal chords to create those mysterious vibrations that grab her listeners where they tingle… Jeanine de Bique recommends herself as the dramatic baroque singer of the hour..”

“De Bique is dazzling, cartwheeling through all the notes with buoyant clarity, spurred on by Concerto Köln and its director Luca Quintavalle. But she makes beautiful work of the slow numbers too, spinning out long lines on a silvery thread of voice; the final track – an aria for the sorceress Alcina by Broschi – is mesmerising.”

“A roaring Triumph for a star from Trinidad… No matter how fast the semiquavars fly each note is crisply, chiselled and secure. The effect is electrifying, galvanising the music’s rhythms.. There is the insouciant way she floates her top notes as if the feat were nothing at all; or the elegantly varied timbres; or, underlying everything, the joyous sense of someone simply thrilled to be singing… De Bique, a singer of great and growing talents. All the listener has to do is sit back, listen and luxuriate.”