
Jennifer Johnston
“Jennifer Johnston has one of the most generous and beautiful voices in the business”
(Prospect Magazine)
Widely regarded as one of Britain’s most commanding vocal talents, mezzo-soprano Jennifer Johnston has carved out a distinguished career as a consummate interpreter of the monumental works of Mahler, Wagner, Britten, Beethoven, and Elgar, making her the soloist of choice for many of the world’s foremost orchestras and conductors. In 2021, Johnston was awarded the Royal Philharmonic Society’s Singer Award, honouring her “commitment and emotional force” in both performance and education and, beyond the stage, she is a passionate and articulate advocate for the Arts.
Jennifer Johnston’s 2025/2026 season is marked by several significant role debuts, notably Ježibaba (Rusalka) which she sings both in Tatjana Gürbaca’s production for Den Norske Opera under the baton of Edward Gardner and with Royal Liverpool Philharmonic Orchestra under Domingo Hindoyan, and Fricka in Das Rheingold and Die Walküre with Sinfonieorchester Wuppertal under Patrick Hahn. She returns to her acclaimed interpretation of Judith in Bluebeard’s Castle with BBC Philharmonic Orchestra under Anja Bihlmaier and makes her debut at Opéra Comique in the French premiere of Matthias Pintscher’s new work, Nuit sans aube.
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On the concert stage this season, Johnston brings her signature depth and artistry to Mahler Symphony No.3 with Taiwan Philharmonic and Jun Märkl, and Symphony No.2 with the Antwerp Symphony Orchestra under Osmo Vänskä. She performs Wagner Wesendonck Lieder with Bournemouth Symphony Orchestra and David Hill, and Mendelssohn Elijah with Gulbenkian Orchestra under Hannu Lintu. A passionate advocate for song and programme curation, she unveils two new programmes this season: The Golden Age of Hollywood at London’s Cadogan Hall with Julius Drake, and Lost in the Stars at Wigmore Hall with Malcolm Martineau.
Mahler’s works have been a central feature of Johnston’s career, with key performances including his Symphony No.8 with Royal Concertgebouw Orchestra under Klaus Mäkelä, Wiener Philharmoniker under Franz Welser-Möst, Bayerisches Staatsorchester under Kirill Petrenko, and with Semyon Bychkov conducting both NDR Radio Philharmonic Orchestra and Prague Philharmonic Orchestra; Symphony No.3 with Cleveland Orchestra under Mäkelä and with Royal Liverpool Philharmonic Orchestra under Domingo Hindoyan and Symphony No.2 with Philharmonia Orchestra under Santtu-Matias Rouvali (released on disc). In huge demand on the concert platform, other notable repertoire includes Judith (Bluebeard’s Castle) with Oslo Filharmonien under Mäkelä, Ravel Schéhérazade with BBC Symphony Orchestra under Sakari Oramo, Jocasta (Oedipus Rex) under Sir John Eliot Gardiner with Berliner Philharmoniker, Wagner Wesendonck Lieder with Hallé Orchestra under Madaras, Verdi Messa da Requiem with BBC Symphony Orchestra and Oramo as part of the First Night of the BBC Proms, Schumann Faustszenen with Daniel Harding and Gewandhausorchester, and Britten Phaedra with Martyn Brabbins and Royal Liverpool Philharmonic Orchestra.
Jennifer Johnston has enjoyed a close collaboration with Bayerische Staatsoper, where she has sung over 80 performances including as Brigitta (Die tote Stadt), Mrs Sedley (Peter Grimes), Second Norn (Götterdämmerung), Roßweise (Die Walküre), Floßhilde (Das Rheingold and Götterdämmerung), Hedwige (Guillaume Tell) and La Ciesca (Gianni Schicci). Highlights elsewhere have included Johnston’s critically acclaimed Judith (Bluebeard’s Castle) for English National Opera, Juno (Semele) for Glyndebourne Festival Opera, Mrs Grose (The Turn of the Screw) and Gaia (Battistelli’s CO2) at Teatro alla Scala, Carmi (Mozart’s La Betulia Liberata) and Leda (Die Liebe Der Danae) and Lady De Hautdesert (Birtwistle’s Gawain) at Salzburg Festival, and Dido (Dido and Aeneas) at Festival d’Aix-en-Provence.
A former BBC New Generation Artist, and a graduate of Cambridge University and the Royal College of Music, Johnston has an extensive discography including her first solo recording, A Love Letter to Liverpool (Rubicon Classics), the Grammy-nominated Vaughan Williams’s Four Last Songs (Albion Records), Stravinsky’s Oedipus Rex (LSO Live), Wagner’s Die Walküre (Waltraute) with Sir Simon Rattle and Bayerischer Rundfunk Orchester and, Gramophone Awards’ 2022 Recording of the Year, Korngold’s Die tote Stadt from Bayerische Staatsoper.
Contacts
Shirley Thomson Senior Director, VOICE at HarrisonParrott | Head of CSR
General Management
Shirley Thomson Senior Director, VOICE at HarrisonParrott | Head of CSR
Shirley Thomson Senior Director, VOICE at HarrisonParrott | Head of CSR
General Management
“Jennifer Johnston sounded splendidly Erda-like, harps a further Ring-echo.”
“Jennifer Johnston’s warm and involving mezzo was an unmitigated delight, the clarity of her diction never in doubt, and her care over the German repeatedly in evidence”
“Jennifer Johnston’s O Mensch was similarly spacious, though in an altogether more expansive character. Her richly warm sound, imploring mankind to take heed of her (admittedly cryptic) words, was matched by seamlessly blended horns and gloriously soft violin playing…This was a performance worth every day of the five-year wait.”
“mezzo Jennifer Johnston delivered cream but forthrightness in equal quantities”
“The lone human voice is that of Jennifer Johnston, still not sufficiently hailed in her own country but clearly in demand throughout the USA and Europe. She never forces the meaning, placing the sound first before warming to life, with an especially gorgeous part to play”
“Jennifer Johnston brings gorgeous tone and immaculate diction to Nietzsche’s Midnight Song”
“With all the lightness of touch that has gone before, the entrance of Jennifer Johnston’s burnished mezzo in the fourth movement adds a due touch of necessary gravity and baleful luminosity. Her impeccable diction and heartfelt, honest singing stays true to Vänskä’s tempi, sounding for all the world as if suspended in the halo of nature’s hallowed halls”
“Two of the four soloists impressed: Jennifer Johnston, who recently stepped in bravely at the last moment to salvage a Duke Bluebeard’s Castle at English National Opera, was always a delight to the ear with her commanding, rich tone and very clear diction”
“Jennifer Johnston found rich layers of colouring for her Maria Aegyptiaca.”
“Johnston, in a long overdue ENO debut, makes an outstanding Judith, carefully matching vocal inflection to Lord’s physical gestures, her tone caressingly beautiful in moments of affection, manipulative or otherwise, but turning from honey to steel in a flash as her demands for Bluebeard’s keys become terrifyingly insistent.”
“Both he and Johnston bring voices of complex colours and ample size to proceedings, flooding the theatre with tone and riding easily over Bartók’s outsize orchestral accompaniment”
“[As Judit] Jennifer Johnston jumped in, a singer of startling force (with a pinging high C)”
“That Johnston was able to sing Judith with such conviction and energy with so little notice is a testament to her artistry. A range of emotions – fear, naivety, force and passion – were all thrillingly evoked, a sense of narrative constantly present in the voice, which thrilled at the top…Quite a way to make a house debut!”
“Jennifer Johnston: warmth, kindness, class. All together: wonderful.”
“Mezzo soprano Jennifer Johnston sounded equally comforting and richly filled the room in ‘O Mensch, Gib Acht’.”
“Jennifer Johnston calmed the troubled waters…her diction was so awesome the ‘sssh’ of ‘O Mensch’ resonated at the back of the auditorium. I felt the pain as she leaned into the falling figure and only the beautiful responses from the violin, principal horn and the oboe’s amazing glissandi could bring us salvation.”
“Mezzo-soprano Jennifer Johnston also delighted the audience with her confident yet refined performance, her interventions bringing legendary sophistication to this difficult opus.”
“the exceptional mezzo-soprano Jennifer Johnston.”
“The vengeful Juno, Jove’s wife, a role superbly inhabited by Jennifer Johnston…And, displaying impeccable timing, Johnston’s Juno relishes her revenge.”
“Joelle Harvey and Jennifer Johnston are ravishing…Both mezzos are outstanding, with Johnston’s formidable hauteur superbly contrasted with Wake-Edwards’ passionate intensity.”
“The drama centres, though, on Semele and her vengeful antagonist, Juno…Jennifer Johnston brings all the requisite authority and technical skill to leave her regal stamp on Jove’s power-dressing consort.”
“Jennifer Johnston’s Juno is so formidable that I wish she had more to sing.”
“Jennifer Johnston makes a scarily imperious Juno.”
“Jennifer Johnston — despite the apparent absence of any directorial input — conveys Juno’s vehement desire for vengeance with commanding focus, delivering the heated recitative with which she makes the drowsy Somnus…with delicious dastardliness.
“Juno (Jennifer Johnston, dressed like a peacock, with Flash Gordon headwear) gurgles with pantomime malice as she plots their downfall with her sidekick Iris…The singing hits the spot throughout — from the moments when Johnston reveals her full vocal majesty to the grumpy, half-mumbled aria of the sleep-god Somnus.”
“By far the strongest of the soloists was mezzo-soprano Jennifer Johnston, who sang with extraordinary vitality.”
“Mezzo Jennifer Johnston… was on commanding form”
‘The magnificent mezzo Jennifer Johnston.”
“You couldn’t have asked for more from the singers. Jennifer Johnston was nothing less than sublime in Urlicht, bringing the audience from the melancholic depth of humanity’s pain and need, in her resonant chest voice, to the radiant hope of everlasting life in her upper register”
“We got mezzo-soprano Jennifer Johnston, who demonstrated clearly why the piece works brilliantly with a voice with a slightly lower core. Much of the vocal writing is in the part of the voice where a firm and velvety middle register is needed and Johnston’s singing was textually alert and pointed, and both expansive and voluptuous. She was clearly relishing the Wagnerian influences of Chausson’s writing.”
“Some especially lyrical vocal writing is given to the mezzo-soprano, persuasively sung by Jennifer Johnston.”
“Jennifer Johnston’s polished, grave mezzo-soprano was unfailingly musical.”
“Soprano Masabane Cecilia Rangwanasha and mezzo-soprano Jennifer Johnston stole the show…Jennifer Johnston’s rendition of the Liber Scriptus and tender Recordare was beautifully done.”
“Mezzo-soprano Jennifer Johnston was fearless in the ‘Liber Scriptus’, her voice ringing out thrillingly, ably accompanied by some sonorous brass playing. Johnston was equally effective in the Recordare, her voice blending superbly with soprano Masabane Cecilia Rangwanasha.”
“By contrast, Jennifer Johnston showed the flexibility and intensity that Verdi expected of his mezzo-sopranos. Her duets with Masabane Cecilia Rangwanasha shimmered like exquisite jewels.”
“The soloists are all first rate, from judgment-day horn and trombone to world-class mezzo Jennifer Johnston.”
“The standard of orchestral playing was mostly exemplary up until the end of the third movement, but from the moment mezzo-soprano Jennifer Johnston began singing ‘Urlicht’ with achingly beautiful tone, and scrupulous attention to the text, vocal colours, and dynamics, the entire performance shifted up a gear, and remained on an exalted level until its shattering close… this hugely talented mezzo from Liverpool possesses a voice of rare quality — richly bronzed, and even throughout its range. Her finely poised, pitch-perfect interpretation of ‘Urlicht’ held the packed audience in thrall.”
“ ‘Urlicht’ can sometimes — possibly more often than not — leave me rather cold in many live performances. Not here. The mezzo Jennifer Johnston was spellbinding — again almost stereophonic in that way in which a halo of rich sound seemed to surround her, most of it her own magnificent voice like a crown wrapped in gold and velvet.”
“Jennifer Johnston, breath taking, made Nietzsche’s text sparkle with a perfectly controlled voice and a diction that would make the most finicky linguists blush.”
“In the fourth movement, Jennifer Johnston, placed in the middle of the first violins, lives up to the preceding pages. Her dark timbre, without the show being closed, is perfect, the noble vocals, the power and the legato serve the text best. Magnificent.”
“A fierce, big-hearted and atmospheric tribute to Johnston’s home city, celebrated in rewardingly unsoupy arrangements of popular, romantic, traditional and Beatles songs — Johnston handles them all with rich colours, elegance and feeling…I have no claims on Liverpool, this disc made me wish I had.”
“A seamless musical panorama, exquisitely sung throughout. A beauty.”