Marcellina – Le Nozze di Figaro : Mozart

“The wacky duo of Marcellina and Dr. Bartolo, beautifully sung and expertly enacted by Martha Jane Howe and G. William Bugg, was one for the books as well.”

Mary - Der fliegende Holländer : Wagner

“There's first rate singing also by Martha Jane Howe as Mary (a rich, warm contralto).”

The Sacramento Bee: Nov. 1998

“A very pleasant surprise was the Mary of Martha Jane Howe. In the few lines allotted to her, her rich mezzo soprano boomed out excitingly. If only she had more to sing.”

MGW Newspaper Sacramento : Nov. 1998

Gertrude - Roméo et Juliette : Gounod

“Martha Jane Howe as a three-dimensional and roundly sung Gertrude.”

Los Angeles Times: April 1998

“The pair enjoyed worthy, strong-voiced colleagues in … and Martha Jane Howe”

Daniel Cariaga: Opera News: August 1998

Das klagende Lied : Mahler ( Berkeley Symphony / Kent Nagano)

"Among the vocal soloists, mezzo-soprano Martha Jane Howe stood out with a velvety depth of tone that seemed more that of a contralto."

Berkeley Voice: May 1998

"Nagano assembled a fine team of singers as well, with mezzo soprano Martha Jane Howe bringing an especially beautiful and dramatic quality to her part."

Contra Costa Times: May 1998

Pénélope -- Pénélope : Fauré

"Martha Jane Howe as Pénélope is deeply impressive: a rich and powerful voice, expressively right on. She knows how to use the voice as instrument – inflection of tone, the merest modulation of facial muscle carry drama."

Hills Publications: May 1996

Ludmilla – Die Verkaufte Braut: Smetana

"Martha Jane Howe's Ludmilla was splendid, vocally and theatrically."

Martin Bernheimer re: Lyric Opera of Chicago : Los Angeles Times: Nov.1992

Bianca - The Rape of Lucretia: Britten

"Lcretia was overshadowed vocally by mezzo-soprano Martha Jane Howe as Bianca."

The San Diego Union-Tribune: March 1992

[supertitles] The redundancy insulted the singers, who articulated Duncan 's lines with model clarity. . . The rest of the ensemble was strong. . .Martha Jane Howe, a holdover from Long Beach , exuded nursely sympathy as Bianca."

Martin Bernheimer: Los Angeles Times: March 1992

Dame Quickly - Falstaff : Verdi

"Alto Martha Jane Howe is an accomplished singing actress, with many turns of gesture and nuance that accentuate the busybody liaison duties of Dame Quickly… for a quartet of ladies who create a comic buzz every time they put their heads together."

Deseret News Salt Lake City: May 1991

"Martha Jane Howe purred and plotted as Dame Quickly."

The Salt Lake City Tribune: May 91

Geneviève – Pelléas et Mélisande : Debussy

"Martha Jane Howe added her own vocal luster to a sympathetic Geneviève."

Los Angeles Times: April 1991

Bianca – The Rape of Lucretia : Britten

"The cast represents a perfectly balanced ensemble of singing actors who are not afraid of taking risks. The exquisite spinning scene was complemented by the dark contralto of Martha Jane Howe as Bianca."

Martin Bernheimer: Los Angeles Times and OPERA: April 1990

Flower Mädchen - Parsifal : Wagner ( Chicago Symphony)

"Complementing the musical picture were the splendid Flowermaidens… Miss Howe."

The Chicago Tribune: March 1990

Innkeeper – Boris Godunov : Mussorgsky

"Martha Jane Howe contributed a lusty Innkeeper."

Martin Bernheimer: Los Angeles Times: Oct. 1989

Among others, Gugusvilli (Simpleton), Glassman (Dimitri) and Howe (Hostess) distinguished themselves."

Daniel Cariaga: Opera News : Dec. 1989

Teresa – La Sonnambula : Bellini

"Martha Jane Howe caught the ear and the eye."

Chicago Sun Times: Oct.1988

Christmas Oratorio :Saint-Saëns ( Youngstown Symphony)

"Unlike many deep-voiced female singers, Martha Jane Howe, at last a true contralto, always was audible and made one eager to hear her in more extensive parts."

The Vindicator: Dec. 1987

Distinguished Matron – The Nose : Shostakovich

"Others who stood out in this excellent cast were.. mezzo Martha Jane Howe."

Santa Fe Reporter: August 1987

Dame Quickly - Falstaff : Verdi

"The charm in this case is greatly to the credit of the ladies… and Miss Howe as a delightfully amusing Dame Quickly."

Indianapolis News March 1986

"The Dame Quickly of Martha Jane Howe was an equally strong characterization. In this case, however, it was just the right touch of vulgarity that made it clear that this amorous go-between, as well as the audience, enjoyed her faintly disreputable chores more than she should have. And Howe, too, upheld the high vocal quality of this cast with real distinction."

Syracuse Herald Journal: April 1986

King David : Honegger (Carnegie Hall)

"Martha Jane Howe's contralto voice and her speaking portrayal of the Witch of Endor were the moments of interest here."

Bernard Holland: The New York Times: May 1985

Maddalena – Rigoletto : Verdi

"Martha Jane Howe appeared as Maddalena, sister of Sparafucile. Her contralto was rich and expressive."

The Baltimore Evening Sun: March 1985

Filipievna – Eugene Onegin : Tchaikovsky

"Martha Jane Howe's solidly vocalized Filipievna dominated a supporting cast, including Prince Gremin, Olga, Mme. Larina and Monsieur Triquet."

Martin Bernheimer: Los Angeles Times: February 1985

Tisbe – La Cenerentola : Rossini

"The comic element was splendidly upheld by Miss Howe."

Washington Post: Dec. 1984

"Martha Jane Howe as Tisbe made the most of her role, even though her elder sister got the aria."

The Baltimore Sun: Dec. 1984

"Martha Jane Howe also put in a fine characterization of the ugly stepsister Tisbe. Both women managed to make you feel a little sorry for them as they made you laugh."

The Daily Record: Dec. 1984

Nutrice – Coronation of Poppea : Monteverdi

"Ottavia's nurse -- Martha Jane Howe – is a gum chewing bitchy and butchy broad who likes to stroke her mistress' knees. Howe makes marvelously lusty contralto sounds as the macho nurse."

Martin Bernheimer: Los Angeles Times: Nov. 1984

Musical America Young Artist of 1984 –

featured in the July 1984 Issue of Musical America

Maddalena – Rigoletto : Verdi

"The role of Maddalena found in the young American Martha Jane Howe an interpreter of equal excellence; physically, dramatically and vocally."

La Presse (Montréal): June 1984

Rhapsodie Op. 53 : Brahms ( Cheyenne Symphony)

"Miss Howe, projecting great warmth, commanded the stage and filled the Civic Center with her splendid voice. Her elegant contralto impressed with its power and confidence in the Rhapsody and soared effortlessly above the orchestra and the accompanying male chorus. Her breath control was excellent, extending over lengthy and challenging phrases with total command from the first note to the last. She bridged difficult intervals easily and precisely, singing with an earnest fire that was both touching and beautiful."

Wyoming State Tribune: Jan 1984

Czipra – Der Zigeunerbaron : J. Strauss

"Soprano Sally Wolf and contralto Howe proved inspired choices. Both displayed the dramatic freedom and expressive vitality that can make a single performer fill, or influence, vast spaces on a stage – a difficult feat accomplished brilliantly."

Kitchener-Waterloo Record: Oct. 1983

Glagolytic Mass: Janacek: Milwaukee Symphony

"Notably, Martha Jane Howe captured a touching, swanlike grace."

Milwaukee Journal: Dec 1981

Marcellina – Le Nozze di Figaro : Mozart

"Miss Howe's Marcellina sounded opulent."

Los Angeles Times: July 1980

"Miss Howe is gifted with an unusually dark though clear voice. Her Marcellina was excellently sung."

Carmel Times: July 1980

Popova - The Bear : Walton

"Her voice is rich, elegant, and wonderfully pointed. She lavished crisp enunciation."

San Diego Evening Tribune: June 1977

"Smooth, rich voice, and a flowing vocal line that makes lovely lyrical moments even out of the most declamatory fragments. Miss Howe is capable of a large range of expression: she is in turn wistful, angry and passionate. A fine performance, enhanced by this artist's equally fine skills s an actress."

The Reader: June 1977

"Miss Howe is graceful as singer and actress. Her musical phrasing and dramatic gesture were always deft and well timed."

The San Diego Union: June 1977