With a reputation as one of the leading sopranos in the modern era, Jane Eaglen has enjoyed unique success with opera’s greatest composers: Bellini, Mozart, Puccini, Strauss, and Wagner. Notably, her interpretations of Wagner have led fans and critics alike to proclaim her a worthy successor to Leider, Flagstad, Traubel and Nilsson.[1] Frequently compared, critics have said Ms. Eaglen’s “an Isolde with irresistible vocal passion rarely heard since the days of Nilsson,”[2] and “the first soprano since Ms. Nilsson to make singing the role seem natural.”[3] On the other end of the spectrum, for a 2010 opera premiere, “The best singing comes... when the great soprano Jane Eaglen sings... her hymn with impressive musicality and a calm yet commanding stage presence. For that shining, breathtaking moment, she reminds you why we love opera.”[4] Whether Donna Anna, Norma, Turandot, Ariadne, Isolde, or the three Brünnhildes, Eaglen has gone on to perform these roles – and many others – to critical acclaim with the world’s leading opera houses including Deutsche Oper Berlin, Lyric Opera of Chicago, the Metropolitan Opera, l’Opéra National de Paris, Royal Opera Covent Garden, San Francisco Opera, Teatro alla Scala, and the Wiener Staatsoper.

Eaglen has an equally impressive reputation in concerts and recitals throughout the world. Notable performances include a concert with Sir Reginald Goodall for HRH The Prince Charles and Princess Diana of Wales in 1986; The MET Opera’s James Levine 25th Anniversary Gala in 1996; The MET Opera Millennium Gala Concert in 2000 where she reprised the MET Turandot production with Luciano Pavarotti; Last Night of the Proms 2000; and Lyric Opera of Chicago’s 50th Anniversary Gala Concert in 2004. Others include Strauss’s Vier letzte Lieder with Daniel Barenboim and the Chicago Symphony Orchestra; Strauss’ final scene of Salome with Zubin Mehta and the New York Philharmonic, and Sir Richard Hickox and the London Symphony Orchestra; Verdi’s Nabucco with Riccardo Muti for the Ravenna Festival; Beethoven’s Ninth Symphony with Sir Neville Marriner and St. Martin in the Fields, Kurt Masur and the London Philharmonic, Ricardo Muti and the Filarmonica della Scala, and Kent Nagano and the Hallé Orchestra; Mahler’s Eighth Symphony with James Levine with the Boston Symphony and London Philharmonic, Leonard Slatkin and the National Symphony Orchestra, and Klaus Tennstedt and the London Philharmonic; Schoenberg's Gurre-Lieder with Claudio Abbado for the Salzburg and Edinburgh Festivals; and Verdi’s Messa da Requiem with Daniel Barenboim with the Staatskapelle Berlin and the Berliner Philharmoniker, Daniele Gatti with the Accademia Nazionale di Santa Cecilia, and James Levine with the London Philharmonia.

Eaglen’s exclusive contract with Sony Masterworks includes several solo albums, complete opera recordings, soundtracks, and DVDs. Wagner’s Tannhäuser with Barenboim for Teldec earned Eaglen a Grammy® Award for Best Complete Opera. She received a second Grammy® nomination for her work on EMI’s ‘Bruckner: Mass No.3 and Te Deum’ with the London Philharmonic. Other notable recordings include Mahler’s Eighth Symphony with Chailly for Decca, Beethoven’s Ninth Symphony with Abbado for Sony, Norma with Muti for EMI, and in the title role of Opera Rara’s Medea in Corinto. In addition, Eaglen is featured on Sony’s soundtrack for the film adaptation of Jane Austen’s Sense and Sensibility.

For her services to the arts, Eaglen was honored by Congress in the United States House of Representatives and named an honorary Doctor of Music by McGill University, Montreal, in 2005; awarded the 2008 Baccarat Award from the Licia Albanese-Puccini Foundation; named Doctor of the University by Bishop Grosseteste University College Lincoln, England, and installed as Honorary Member of the Wagner Society of Northern California in 2009.

While continuing to perform concerts and recitals, Eaglen has increased her pedagogic endeavors. She served as Senior Artist-in-Residence at the University of Washington School of Music from 2006-2010; served as the Principal Voice Instructor for the Seattle Opera Young Artist Program; teaches periodically at the Cardiff International Academy of Voice; and returns frequently to mentor the Merola Program at San Francisco Opera. In the autumn of 2010, Eaglen accepted a tenured position as Professor of Voice at Baldwin-Wallace College Conservatory in Berea, Ohio, and was named International Fellow in Voice at the Royal Conservatoire of Scotland, Glasgow (formerly the Royal Scottish Academy of Music and Drama), where she periodically gives master classes.

[1]Dirk Altenaer, review of Tristan und Isolde (Deutsche Oper am Rhein), Der Neue Merker, May 2007
[2]Review of Tristan und Isolde (Deutsche Oper am Rhein), Opernnetz, May 5, 2007
[3]Anthony Tommasini, review of Tristan und Isolde (Seattle), New York Times, August 3, 1998
[4]Ronald Holden, reviews of Amelia (Seattle), Seattlest and Crosscut.com, May 14, 2010

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