Latest Reviews

Handel: Jephtha, Music of the Baroque (September 2022)

"Glover led a boldly dramatic, silver-screen performance of Handel’s oratorio at the North Shore Center, one that made even veteran Handel hands seem pallid and ascetic by comparison. The evening moved with crackling urgency and Glover brought out the ingenuity of the music as well as the deep vein of feeling at its core."

Chicago Classical Review

Don Giovanni, Aspen Music Festival (August 2022)

"A strong cast, many singing their roles for the first time, and superb conducting from Dame Jane Glover, an Aspen regular for decades now, produced an enjoyable Don Giovanni. The spotlight trained on her all evening was well-deserved. She was the hero of the evening, keeping all the moving parts in place while encouraging Mozartean flavor in the music, from elegance to stern power."

Aspen Times

Chicago Symphony Orchestra (March 2022)

 

"The CSO performances under Glover were dispatched with the usual crisp direction, vigor and finish of her MOB performances... Glover directed an efficient and well-balanced reading. The spirited finale came off best with crackling energy, the violins excelling in their whirling part writing."

 

Chicago Classical Review 

Cleveland Orchestra "Symphonic Mozart" (March 2022)

 

"The strings under early music specialist Jane Glover gave this listener gooseflesh as they ebbed and flowed through the “Fantasia on a Theme by Thomas Tallis,” a soaring flight on a 16th-century tune. They pushed into a state beyond their usual renowned coherence and throbbed as a single glorious entity."

 

Cleveland.com

Music of the Baroque with Anthony McGill (February 2022)
 

"The electricity of the intense communication between McGill and Glover was palpable in the virtuosic final movement, as if the music were being composed in the moment.
 

Conducting from memory, Glover’s gestures were precise and evocative, perfectly encapsulating the contrasting textures and weights throughout, particularly in the Andante. The anguished Minuet was heavy without being ponderous, while the woodwinds and horns were luminous in the Trio. Glover captured the playfulness of the opening salvo of the finale and led the orchestra to a rousing conclusion."
 

Chicago Classical Review

The Magic Flute, Houston Grand Opera (February 2022)
 

"The Houston Grand Opera Orchestra, led by conductor Jane Glover, brought out the score’s zip, charm and quasi-religous spaciousness with equal style.
 

Glover also had a knack for accentuating key moments for the singers: She gave Carroll time to linger over one of the high B-flats in Bei Männern,” and she waited a split-second to set up Schneider for the final, most majestic phrases of “O Isis und Osiris.” As attention-grabbing as all the animation was, Glover helped ensure that Mozart still got his word in."
 

Texas Classical Review

The Magic Flute, Metropolitan Opera (December 2021)

"The performance boasted a winning cast and glowing playing from the orchestra, led with elegance and insight by Jane Glover.

On the podium, Glover balanced warmth and brightness, breadth and high spirits, and rightly received an enthusiastic ovation. When she made her Met debut in 2013 in this holiday “Magic Flute,” she was just the third woman to conduct at the company. This current run is her first time back.

 

Glover has worked with the Royal Opera and the Glyndebourne Festival in England, the Berlin State Opera, the Royal Danish Opera and other major houses. Isn’t it time for the Met to utilize her full capabilities?"

New York Times

Music of the Baroque (September 2021)

"Few more formidable interpreters of the baroque master’s music walk the earth than Glover... She took care to balance the colors of winds against strings deftly and point the rhythms acutely."

 

Chicago Classical Review

Beethoven & DvořákAspen Festival Orchestra (August 2021)

"In a season in which conductors too often let orchestras under their batons get a too loud too often for concerto soloists, Glover stood out by finding exquisite balances between ensemble and soloist without losing any of the necessary orchestral energy. Her every phrase had an arc, and she winnowed the ends of those phrases so they did not cover James Ehnes’ refined playing when it sailed into the fiddle’s highest notes. In the symphony Glover tied phrases together seamlessly, a welcome approach as Dvořák tended to map his music in blocks. She made the flow feel utterly natural."

Aspen Times

Mozart in the Meadows, Cleveland Orchestra (July 2021)
"Dame Jane Glover was the perfect conductor, with forces considerably reduced...Glover encouraged the orchestra’s natural tendencies, with releases that seemed magically to lift off the notes at the ends of significant phrases...Every detail of the concert had been executed with care and fine musicianship."

(Bachtrack)

Alison Balsom plays Haydn & Mozart Symphonies 36 & 38: Music of the Baroque, Chicago (January 2020)

A quintessential Mozartean, Glover remains unimpeachable in this domain. Her reading of the Linz Symphony was especially of note: lean and spirited, yet brilliantly balancing the drama and refinement that inherently coexist in the score...Glover’s sensitivity for ensemble texture kept the siciliano buoyant despite the ballast of the winds and timpani, and her careful control of the dynamics illuminated clever variations in each statement of the amiable melody.

(Chicago Classical Review)

Mozart: Le nozze di Figaro, Aspen Music Festival (August 2019)

The conductor Jane Glover chose ideal tempos and maintained a fine balance throughout, also playing the harpsichord recitatives and demonstrating her rich experience in Mozart and Figaro in particular.

(Opera Magazine)